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Copyright, 1905 


Neume Board 1905 


OF 1905 





CHE Board of Editors of the Class Book of 1905 present to the 
New England Conservatory of Music of Boston, its students and 
its friends, this, the first volume of its kind, The Neume. 
Broad though our field may be, since we proudly claim the institution of 
this long-needed publication, and have consequently had every phase of 
Conservatory life to treat at our disposal, we have necessarily been hampered 
by the absence of any previous attempt of this nature upon which we might 
hope to improve. 

May our readers look kindly upon our feeble endeavor to appeal to the 
student body — to impress them with the fact that life really does exist in an 
institution of this kind ; and may every class that is to come deem a year 
book of their own publication an indispensable part of their course, and 
freely profit by the many and varied experiences of the editors of The 

The Editors. 




New England Conservatory of Music 

CALENDAR, 1903-1906 

First Session begins Thursday, September 14, 1905, and closes Wednes- 
day, Januar\^ 31, 1906. 

Second Session begins Thursday, February 1, 1906, and closes Wednesday, 
June 20, 1906. 

Christmas Vacation (one week), December 24 to 30 inclusive. 
Easter Vacation (ten days), April 13 to 22 inclusive. 
All teaching and business in the Conser\^ator\' is suspended on legal holidays. 
The first session of 1906-1907 begins September 20, 1906. 







Executive Committee of the Board of Trustees 

Charles P. Gardiner, President 
Eben D. Jordan j 
Arthur F. Estabrook S Vice Presidents 
S. LoTHROP Thorndike ) 
George W. Chadwick, Director 
William A. L. Bazeley, Treasurer 
Ralph L. Flanders, Manager 
Frederick S. Converse John P. Lyman 

Frank Wood 



Charles P. Gardiner James C. D. Parker 

George W. Chadwick Ralph L. Flanders 

Ralph L. Flanders, Manager 
Frederick L. Trowbridge, Manager s Assistant 
OSSIAN E. Mills, Cashier and Accountant 
Elizabeth I. Curry, Corresponding Secretary 
Martha Perkins, Registrar 
Benjamin Cutter, Curator of Library 
William F. Wellman, Superintendent of Music Store 


Mrs. Margaret Avery Miss Sarah A. Perkins 

Mrs. Adaline C. Ferguson Miss Ellen M. Wheelock 




Board of Editors 

Editor in Chief 
Wilson Townsend Moog 

Associate Editors 

Susan Emma Drought Anna Irene Morris 

Harry B. Keeler Viola May Shaw 

Clara Frances Mallory Carrie Bishop Stanley 

Jrt Editor 

Floyd Bice low Dean 

Business Manager 

Robert Roscoe Steeves 




Progress of the Conservatory 


O be so devoted to an ideal that its realization becomes the chief 
object of an individual's life is, indeed, true evidence of that 
strange power vv^hich manifests itself in all leaders of a nation. 
The successful development of any enterprise demands from its creator 
strength of purpose, unconquerable will, and a faith which rebuilds after 
every defeat. 

The New England Conservatory of Music, incorporated in 1870 by a 
special act of the Legislature of the State of Massachusetts, claims 1853 as 
the date of its origin, since in that year its founder, Dr. Eben Tourjee, first 
introduced into America the conservatory system of musical instruction. 
Dr. Tourjee had for some time been impressed with the value of the class 
system as it existed in the foreign music schools, and his earliest experiments 
were made in Providence, R. I., these resulting in the Providence Conser- 
vatory of Music. This institution having outgrown its environment was 
removed to Boston in 1867. Rooms were secured in Music Hall ; the 
public became interested in the new school, and three years later it was 
incorporated under the present name. 

The attendance became large enough to compel the removal of the 
Conservatory to more commodious quarters, and as Dr. Tourjee found it 
advisable to obtain a building suitable for teaching purposes, as well as 
affording enough room for a home department for the accommodation of 
the young women students coming from all parts of the country, in 1882 
he secured the large building on Franklin Square, then known as the St. 
James Hotel, and for twenty years it was the home of the institution. 

In 1885 Dr. Tourjee, finding the increased responsibilities of his enter- 
prise too great for him to bear alone, a Board of Trustees, composed of 
representative men of Boston, was organized, and thereafter this Board 
managed its affairs. The founder of the institution was given the musical 
directorship for life. Fate seems at times most unrelenting in her cruelty, 
heartlessness, and ingratitude. To-day we may well stand with uncovered 
head before the bust of this man, who, because of his great art-love, counted 




not the cost of the faith within him, but labored unceasingly for the achieve- 
ment of a glorious ideal. 

Failing health caused Dr. Tourjee to voluntarily withdraw^ from the 
directorship, and Mr. Carl Faelten became the acting director. The death 
of Dr. Tourjee occurred April 12, 1891, and the following month Mr. 
Faelten was elected to the office of musical director, from which office he 
resigned in June, 1897. 

Mr. George W. Chadwick, for many vears a member of the Faculty, 
and widely known in both this country and Europe as a leading American 
composer, was selected by the Board of Trustees to be both the director of 
the Conservatory and the head of the composition department. Mr. Chad- 
wick entered upon his new duties by entirely re-organizing the musical 
departments of the institution. A higher grade of work was required, and 
students expecting to become graduates realized the value of the changes 
made, and the general public became aware, bv means of the various 
recitals, opera performances, and orchestral concerts, that a new period had 
arrived in the development of the Conservatorv. 

For some time it had been apparent that eventually the Conservatory 
must erect a building which would fully serve its purpose. The school 
year 1902-1903 will remain the most important period in the later devel- 
opment of the institution. It is not needful at this time to describe the 
splendid structure, which will ever stand a noble monument to the art it 
represents, to its founder, and to the many persons who have been and are 
still deeplv interested in the welfare of our beloved Conservatory. Then 
mav we serve well our day and generation, and not forgetful of those who 
labored so gloriouslv for the people, press onward, remembering that "the 
end crowns the work." 




James Cutler Dunn Parker 

ORN in Boston, 1828, of one of the oldest families. He was bred 
for the law and admitted to the bar before his musical bent 
asserted itself and sent him abroad to study music as his life work. 
He studied (1851-4) at Leipsic under Moscheles, Plaidy, Hauptmann, 
Rietz, Richter and others, and on his return was for over thirty-five years 
organist at Trinitv Church, Boston. 

He has written much music, almost exclusively of a religious char- 
acter. He w^as the first great American composer of large choral works, 
of which the principal are two sacred cantatas, the '^Redemption Hvmn " 
and "St. John," and a secular cantata, "The Blind King." As a teacher 
his influence has been widespread and profound. In the early seventies he 
was the leading instructor at the New England Conservatory of Music, and 
his pupils always excelled. Mention should also be made of his scholarly 
translations from several different languages of various songs and of works 
on the theory and practice of music. 





19 3 




Joseph Adamowski, Violoncello. 

Bom in Warsaw, Poland- Educated in Warsaw Con- 
servatory; studied in Moscow under Fitzenhagen and N, 
Rubinstein; graduated with honors, diploma and medal. 

Arthur Dwight Babcock, Voice. 

Born in Dudley, Mass. Studied at San Diego, Cal., and 
was graduated from the New England Conservatory in 
1903, under Mr. Charles A. White. 

Carl Baermann, Pianoforte. 

Born in Munich. Pupil of Wanner and Wohlmuth, later 
of Liszt; studied Composition with Lachner. Was appointed 
instructor in Munich Conservatory, but decided to settle in 
Boston, where he came in 1881. 

Oreste Bimboni, Coaching, Action and Stage 
Management in School of Opera. 

Born in Florence, in 1846. Studied in Italy ; has taught 
in America since 1901 ; an operatic composer of wide 




E. Charlton Black, Literature Lectures. 

Born in Liddlesdale Parish, Scotland, near the Old Manse 
of Sir Walter Scott. Graduated from Edinburgh Univer- 
sity in the same class with J. M. Barrie ; received LL-D. 
from Glasgow University ; now Professor of English Litera- 
ture in Boston University'. 

David Blanpied, Pianoforte and Theory. 

Born in Galena, Ohio. Pupil of William Apthorp, George 
Whiting, J. C. D. Parker, John O'Neil and Harr)- Wheeler. 

Arthur Brooke, Flute. 

Born at Gomeral, England. Studied under Packer of the 
Scotch Orchestra ; came to America in 1888; played First 
Flute with the Buffalo Symphony Orchestra, and joined the 
Boston Symphony Orchestra in 1896. 

Samuel W. Cole, Solfeggio and Music in Public 

Born in Meriden, N. H. Pupil of S. B. Whitney and 
John W. Tufts at the New England Conser\'ator>'. 




Benjamin Cutter, Harmony and Composition. 

Born in Woburn, Mass- Studied under G- F. Such, 
Julius Eichberg and Stephen Emer\- in Boston ; Violin with 
Singer, Harmony with Goetschius, and Instrumentation with 
Max Seifriz in Stuttgart ; has written several standard text- 

Lucy Dean, Pianoforte. 

Born in Illinois. Graduated from the Xew England Con- 
senator)- in 1891 ; pupil of Dr. Maas, Mrs. Maas, and 
Carl Faelten of Boston ; Leschetizky in Weimar ; and 
Buonamici in Florence. 

Charles Dennee, Pianoforte and Pianoforte Sight 

Born in Oswego, N. Y. Studied Piano with A. D. Turner 
and Madame Schiller, Harmony and Composition with 
Stephen Emer\^ ; special study of Beethoven with von 
Billow during his last trip to America ; has toured exten- 
sively as a concert pianist : composer of note. 

Alfred De VotO, Pianoforte. 

Born in Boston- Graduated from the Xew England Con- 
servatory in 1898 ; has studied for the past ten years under 
Charles Dennee- Member of Music Commission City of 
Boston since 1898. Extensively known as a concert pianist. 




Henry M. Dunham, Organ. 

Born in Brockton, Mass. Studied Organ at the New Eng- 
land Conserv aton,' under Whiting ; Counterpoint, princi- 
pally with J. K. Paine. A well-known composer in vocal 
and instrumental forms. 

William Herbert Dunham, Voice. 

Born in Brockton, Mass. Pupil of Augusto Rotoli and 
Dr. Guilmette, Boston ; Shakespeare. London : Vannu- 
ccini, Florence ; Koenig and Sbriglia. Paris ; Cotogni, 
Rome; Benvenuti, Milan. 

Louis C. Elson, Theory. 

Born in Boston, Mass. Studied Piano with August 
Hamann of Boston : Voice with August Kreissman ; and 
Composition with Carl Gloggner-Castelli of Leipsic. A 
celebrated lecturer and writer on musical subjects. 

Oliver C. Faust, Pianoforte and Organ Tuning. 

Born in Pennsylvania. Studied tuning at the New England 
Conser\'ator}-, where he has taught since 1891. 




Armand Fortin, Voice ; Superintendent of Vocal 
Normal Department. 

Born in Oxford, Mass. Pupil of William L. Whitney, 
Boston, and Vannuccini, Florence. 

George L. Gardner, Tuning. 

Born in Oswego, N. Y. Graduated from the New Eng- 
land Conser\ator}' in 1890, and has been connected with 
the institution since that time. 

Wallace Goodrich, Organ, Analysis, Harmony 
and Composition. 

Born in Newton, Mass. Studied at the New England Con- 
servator\^ under Henry M. Dunham, Organ ; George W. 
Chadwick, Composition : and Louis C. Elson, Theory. 
Has also studied with Josef Rheinberger, Munich, and C. 
M, Widor, Paris. Well known conductor. 

Eugene Gruenberg, Violin; Superintendent of 
Violin Normal Department. 

Born in Lemberg, Galicia. Pupil at Vienna Conservatory, 
of Heissler, Violin : Bruckner and Dessoff, Composition ; 
and Hellmesberger, Chamber and Orchestra Music. Has 
played for the last twenty-five years under the world's great- 
est conductors. 




Percy F. Hunt, Voice. 

Born in Foxboro, Mass- Graduated from the New England 
Conser\^ator\' in 1898 under William H. Dunham ; studied 
with Vannuccini, Florence, and Bonhy, Paris. 

J. Albert Jeffery, Pianoforte. 

Born in Plymouth, England. Educated at the Leipsic 
Conserv^aton,' under Reinecke, Wenzel, Richter and Jadas- 
sohn ; studied in Paris with Ferdinand Praeger ; Organ 
and Church Choir work in London with Roland Rogers, 
Sir George Martin of St. Paul's Cathedral, and Luard 
Selby of Rochester Cathedral, 

Edwin Klahre, Pianoforte. 

Born in New Jersey. Studied under O. Klahre ; later 
pupil of Liszt, Lebert and Josefh' in Piano ; Composition, 
with Schulze in Weimar, Bruckner and Goetschius in 
Stuttgart ; Violin, with Scharwenka. 

Louis Kloepfel, Comet and Trumpet. 

Born in Thuringia. Has appeared as soloist in all the 
principal cities of Europe, and held important positions in 
Court orchestras ; in 1891 he was engaged by Damrosch as 
First Trumpet in New York Symphony Orchestra ; he was 
tendered position of First Trumpet at Court Opera House. 
Berlin, but chose to accept position in Boston Symphony 




Max O. Kunze, Double Bass. 

Born in Dresden. Graduate of Royal Conservatory of 
Music ; played as Principal Bass in the Warsaw Symphony 
Orchestra ; later was a member of von Biilow's Orches- 
tra, with which he came to America ; engaged by Emil Paur 
of Boston Symphony Orchestra in 1894 ; has taught at the 
New England Conservator}' since 1899. 

C. Lexom, Oboe and Solfeggio, 

Born in Belgium. Graduated from Brussels Conservatorv ; 
studied at Paris Conserv atory under Massenet and E. Gillet, 
Composition; E. Pessarld, Harmony; played English 
Horn with Cologne Orchestra ; was for several years member 
of orchestras of Nice, Monte Carlo, and has conducted 
orchestras at Geneva, Rouen and Aix les Bains ; has been 
a member of the Boston Symphony Orchestra for four years. 

Frederick F. Lincoln, Pianoforte. 

Born in Massachusetts. Graduated from the New England 
Conservatory in 1881; studied under J. C D. Parker, A. 
D. Turner, Carl Baermann, Carl Faelten and Stephen 

Emil Mahr, Violin. 

Began his study of Violin with Joachim in Berlin, in 1870 ; 
played as one of the First Violins in the Wagner Festival at 
Bayreuth in 1876 ; spent several years in London as solo 
violinist and conductor ; came to the New England Con- 
serv atory in 1887. 




Carl Peirce, Violin, 

Born in Taunton, Mass. Studied six years with Leandro 
Campanari ; organized Municipal String Quartet of the 
Citv of Boston in 1898 ; at present a member of the Peirce- 
\'an Vliet String Quartet. 

Clara TouRJEE-NelSON, Voice and Pianoforte. 

Born in Rhode Island. Graduated from the New England 
Conser\'atory ; studied Voice with Augusto Rotoli, Mr. and 
Mrs. John O'Neil and Sarah Fisher ; Opera School work 
with Samuel J. Kelley ; also pupil of G- W. Chadwick 
and A. D. Turner. 

F. Addison Porter, Pianoforte; Superintendent 
of Pianoforte Normal Department. 

Born at Dixmont. Maine. Graduated from the New Eng- 
land Conservatory in 1884, after a five years' course with 
A. D. Turner, Stephen Emen,- and George W. Chadwick ; 
studied in Leipsic with Hofmann and Freitag ; has published 
a large number of compositions. 

George W. Proctor, Pianoforte. 

Graduated from the New England Consen aton*- in 1892 ; 
pupil of Leschetizky in Vienna ; studied Composition with 
Nawratil and Mandyczewzki ; has had an extensive career 
as concert pianist. 




Harry N. Redman, Pianoforte, Harmony and 

Born at Mt. Carmel, 111. Pupil of George W. Chadwick ; 
has composed a large amount of piano music and songs. 

Eustace B. Rice, Pianoforte and Solfeggio. 

Pupil of Carl Baermann ; writer of text-books on musical 

Elizabeth I. Samuel, Rhetoric, English and 

Born in Bennington, 111- Graduate of Mount Holyoke 
College ; special work at Boston University. 

Frederick Shormann, French Horn. 

Formerly a member of Boston Symphony Orchestra. 




Heixrich Schnecker, Harp. 

Born in Vienna. Studied with his father ; graduated from 
Vienna Conservatory in 1884. under Professor Zamara ; 
became a member of the Boston Symphony Orchestra in 1886. 

Clarence B. Shirley, Voice. 

Born in Massachusetts. Pupil of Charles A. White; a 
concert and oratorio tenor well known throughout the 
Eastern States. 

Carl Stasny, Pianoforte. 

Alice Mabel Stanaway, Voice. 

Born in California. Graduated from the New England 
Conserv atory in 1898 ; pupil of Augusto Rotoli and Charles 
A. White, Boston; Dubulle, Paris; studied in Opera 
School under Oreste Bimboni. 

Born in Frankfort, A. M. Pupil of Ignaz Briill, Vienna 
Prof. Wilhelm Kriiger, Stuttgart ; Franz Liszt, Weimar 
extensive career as concert pianist. 




Anna M. Stovall, Pianoforte. 

Graduated from New England Conservatory in 1895 ; pupil 
of Carl Stasny. 

Antoinette Szumowska-Adamowska, Pianoforte. 

Born in Lublin, near Warsaw, Poland. Her early study of 
music was pursued at the Warsaw Conservatory with Pro- 
fessor Strobl and Alex Michalonski, afterwards with Pade- 
rewski ; has had an extensive concert career in this country 
and abroad. 

Marie E. Treat. 

Born in Ohio. Graduated 'from the New England Con- 
servatory in 1900 ; pupil of Charles Dennee. 

F. Morse Wemple, Voice. 

Born in Albany, 
White of Boston. 

N. Y. Studied Voice under Charles A. 
and Dubulle of Paris. 




Charles A. White, Voice. 

Born in Troy, N. Y., where he studied Piano and Singing; 
went abroad in 1879 ; entered Leipsic Conservatory, where 
he studied under Rebling and Grill ; continued Voice Study 
with Lamperti ; taught in Troy and Albany, after returning 
home in 1882: organized the Troy Choral Club, which he 
conducted until called to the New England Conservatory in 


Eelix Winternitz, Violin. 

Entered Vienna Conservatory at age of ten, graduated at 
Berlin, and continued under Grun in Vienna; came to 
America when he was seventeen years of age, and played two 
years with Boston Symphony Orchestra before touring the 
United States as soloist; has been a member of the Con- 
servatory Faculty since 1899. 

George Van Wieren, German. 

Also Professor at Boston University. 




ESTELLE J. Andrews, Pianoforte. 

Born in Baltimore, Md. Graduate of the Peabody Institute Conservatory of Music, Bal- 
timore, Md. ; pupil of Carl Faelten and Helen Hopekirk, Boston. 


Frances A. Henay, Hand Culture. 

Born in Boston. Studied Physical Culture with Dr. D- A. Sargent of Cambridge, and 
Baron Nils Posse of Boston ; has taught in New England Conservatory since 1889. 

Homer C. Humphrey, Organ. 

Graduated from the New England Conservatory in 1902 ; pupil of Wallace Goodrich. 

Clara Kathleen (Barnett) Rogers, Voice. 

Born in Cheltenham, England. Educated in Leipsic Conservatory : Piano, under Mos- 
cheles and Plaidy ; Voice, with Professor Goetze ; studied Piano in Berlin under von 
Biilow ; Voice, under Frau Zimmerman ; also studied Voice in Italy under San Giovanni ;. 
has published both vocal and instrumental music. 

Elsa Bimboni, Italian. 

Camille Thurwanger, French. 

George Whitefield Chadwick, Composition. 

Born in Lowell, Mass. Studied at the New England Conservatory, and in 1877 went 
to Leipsic, where he began his first thorough study of Composition under Reinecke and 
Jadassohn ; in 1879 he went to Dresden and entered the Royal School of Music, and 
became one of the first American pupils of Rheinberger, there studying Conducting with 
Abel ; returned to Boston in 1880, became teacher at the New England Conservatory in 
the same year, and Director in 1897 ; Conductor of the Conservatory Orchestra and Chorus.. 
In all lines a composer of international reputation. 




The Alumni Association 

F. Addison Porter 

Henry T. Wade 

Percy J. Burrell 

Mrs. Clar-\ Tourjee-Nelson 

Clarence E. Reed 

Allan VV. Swan . 

Eustace B. Rice 

First rice President 
Second J ice President 
Recording Secretary 
Financial Secretary 

eI\'E the Conservaton- an enthusiastic student bodv, and lovaltv to 
the Alma Mater will ever be the kevnote struck bv the Alumni. 
Nothing so happilv forecasts a forceful alumni bodv as such a visi- 
ble proof of the esprit de corps of a Senior class which strives to leave its 
impress upon its Alma Mater. So it is with the real appreciation of the 
worth of the voung students who send forth The Neume that the Alumni 
Association congratulates the Class of 1905. 

I have been requested to write brieflv of the Alumni Association. 
May I be permitted to speak historicallv and hopefullv. Not all can be 
said in the space at our disposal, vet it is our desire that the best in the 
Association shall find imprint here. The Alumni Association of the New 
England Conser\^ator\- of Music was organized in 1880. Its avowed objects 
are to perpetuate and intensifv in its members their fidelity to their Alma 
Mater and to bind them together in a spirit of true friendship and mutual 
helpfulness ; to assist worthv students bv the establishment of a loan fund, 
free scholarships, and prizes, and bv aiding in the endowment of professor- 
ships when these helps shall become practicable ; and in general, to aid the 
Consen'ator\-, assist each other, and further the true progress of art. 

At the time of this Alumni organization the Conservator)- was located 
at the old Music Hall in Hamilton Place, and had an attendance of some 
eight hundred pupils. Eben Tourjee. a name to be revered by all who 




enter and leave the Conservatory, made his sweet and irresistible influence 
felt in this Association, v^^hich his w^isdom and foresight told him could be 
of great service to the growing institution. 

The first president of the Association was Miss Sara Fisher, now Mrs. 
A. C. Wellington, and her successors have been Mr. Henry M. Dunham, 
Mr. A. D. Turner, Miss Clara S. Ludlow, Mr. Frank Morse, Mr. Charles 
H. Morse, Mr. Everett E. Truette, and Mr. F. Addison Porter. 

Each year the Alumni gather together for a banquet and reunion. On 
these occasions they meet the graduating class, form new friendships, and 
renew old ties. 

It would be a serious omission if we did not ascribe to the Conserva- 
tory Alumni an expressive authority in the realm of music. The Conser/a- 
tory has always sought to teach the best music and to cultivate the highest 
tastes and truest appreciation among its students. Some years ago the best 
music was but infrequently heard, and Conservatory and students were not 
blind to this deplorable condition. To-day in the musical world there is a 
great change for the better. The Conservatory graduates are entitled to 
credit and praise, for to them belongs the distinction of having exercised an 
influence greater than any graduate force, and possibly more dominant than 
any other force whatever, toward elevating the tone of music and inculcat- 
ing in the public mind a finer appreciation of it. The ennobling influences 
in the homes presided over by so many who were once Conservatory stu- 
dents can never be measured from the public standpoint, yet music has 
played a wonderful part in training the alert ear and moulding the plastic 
mind of the young. 

I have a real eagerness to name some of the famous musicians who 
have passed through the Conservatory, but to make such a distinctive list 
would be an invidious task. One may point with pride to the pinnacle of 
grand opera fame, to the best symphony in America, to the noted Faculty 
of our own Conservatory, and to many another one in the land, and to the 
directorship of musical institutions. We find the Conservatory pupil in all 
these exalted stations of life. Conservatory Alumni have also distinguished 
themselves as concert artists, book writers, and magazine contributors. We 
should not forget that the institution once embraced departments of elocu- 
tion and art, both of which graduated those who have achieved note in 
their respective spheres. Some of our most talented elocutionists and 
actors received a share of their training in Music Hall and Franklin Square. 




In short, the Alumni of the Conservatory has earned for itself a prestige in 
which it may justly take pride. They may return to the old school any day 
and look with a peculiar satisfaction upon the bronze tablet in grateful 
memory of Dr. Tourjee and at many fine books in the library, both the 
gifts of the Alumni Association to the Conservatory. 

The Association retains its spirit of propaganda. It would choose that 
the final word in its contribution to The Neume serve as a missionary agent 
into the field of the Class of 1905. We are ever eager for new blood. 
We are urgent that you enroll yourselves in the Alumni Association. The 
effort is being made to place the membership upon a more permanent basis. 
Entrance or initiation fees have been abohshed, and a life membership on a 
graduated scale of annual dues has been established. Assuredly the ambi- 
tion and enterprise of your class may find its usefulness further enlarged and 
its loyalty yet more manifest by being one with us, and in so doing the 
Alumni Association cherishes the hope that the new member may feel that 
the reciprocal in life is not lacking toward him. 

Percy Jewett Burrell. 

May 24, 1905. 




The Development of Class Spirit 

As Seen from a Post Graduate's Point of View 

HE trite little saving, "United we stand, divided we fall," includes 
much of which I might say regarding class spirit. Who of us 
does not know^ the various experiences which befall a class divided 
into many factions ; the manv pullings this w^av and that, with freely ex- 
pressed dissatisfaction, until the poor mortal known as the "president" is 
ready to resign in despair ? 

In class meetings, as in any public meeting, freedom of speech is widely 
indulged in, and onlv when there is one strong feeling uniting the class 
does it sail safelv through the obstacles confronting it. 

In the study of music at the Conservatory there is no systematic course 
covering any limited number of years similar to a college course. The 
many pupils enter with no definite idea of graduating. After a pupil has 
become acccustomed to the life (and it usually takes one good year) she 
may decide that it would be nice to graduate, get a diploma, and be one of 
the favored (?) ones to share the excitements of Commencement; so she 
immediately arranges her work and feels that life is really worth while. 

If she is to graduate as a teacher she may see posted in some conspic- 
uous place a notice reading thus, "An important meeting of Juniors to 
organize the class and elect of^cers." At the appointed time she arrives, 
feeling verv important (this is not personal), confidently expecting to find 
the Gym — every first meeting is held in the Gym — quite full of class- 
mates, eager and loyal as she. 

Unless she be one of a model class she will find herself almost the only 
member present ; and after wasting precious time with a half dozen more 
or less interested students she goes awav, rather disgusted, but wiser. 

Several weeks pass before any other meeting is called, and our student 
goes through the routine familiar to us all. When the second notice of a 
meeting meets her eye she finds it is to consider the annual invitation 
issued by the Seniors to the Juniors to attend a reception. Presto ! Where 
did all these people spring from ? Why this sudden class interest ? Can 




it be that they are thinking of the refreshments ? (Always bear in mind 
that the writer graduated from the old Conservatory — ice cream once a week 
and holidays. ) And the student recognizes many friends who reside in the 
building. Suffice to say, the opportunity is at hand ; a class is formed, 
president elected, and at last the student feels herself one of the glorious 
Class of 19 — , which is to outshine every other class, have more geniuses, 
and altogether add to the already high reputation of the Conservatory. 

So the class is launched, and the following year for our student means 
the Senior year spelled with a capital S. Of all vou graduates, who does 
not remember the unusual importance connected with these class meet- 
ings — of the choice of colors, selection of pins, not to mention such little 
things as final exams in harmony, piano and the like ? 

The class spirit this year seems to be more general. And if there is 
in the president the combination of tact and good nature many little diffi- 
culties are smoothed down, and every member feels that spirit of loyalty 
which seldom comes into their lives. 

If our student be one of the chosen few to be on the Commencement 
program she feels that her cup of joy is surely full (again I warn you, this 
is strictly impersonal) , and such little remarks as having her head compared 
to a cabbage and the like, indulged in by a sorely tried teacher, are even 
borne for the sake of possibly being an honor to her class. And when 
Commencement is over, and she has become an alumna of the Conserva- 
tory, she appreciates more than ever the loyal spirit without which no class 
can work in unison. 

Now, in taking up the thread binding the old Conservatory life with 
that of the new, we notice a decided change. Having no students' apart- 
ments in the Conservatory building causes a feeling of independence among 
the pupils. When one and all come from their homes, making the Con- 
servatory the center, more of a strictly class spirit is called forth ; all meet 
on one common ground, and each one has a chance to become better 
acquainted with her classmate. Especially was this true of the Class of 
1903, which, though handicapped by the unfinished state of the building, 
was the first class to graduate from Jordan Hall. 

With the Class of 1904 came the founding of Class Day ; and well may 
this class be proud of its record. The facilities of the building made such 
an act possible, and certainly the Conservatory is important enough to have 
'everything attending its Commencement equal to any college in the country. 




The present Class of 1905, in issuing The Neume, has instituted a 
custom which I sincerely hope will never die. One does not realize how 
much a class paper or a class book means to the students. Of course I 
mean students who are loyally interested in their work and the institution 
in which they spend so much of their time. Class spirit means loyalty to 
one another and loyalty to their Alma Mater, and the success of an institu- 
tion depends upon its students. 

It is impossible to resist urging all prospective graduates to develop 
this feeling. Look at it in a broad sense, overlook the little unpleasantness, 
and when your dreams are at last realized, and you stand an alumna, may 
you raise your hand high above your head, and cry with heartfelt fervor: — 

Alma Mater, Alma Mater, 
May the love we feel for thee 
Strengthen as the years grow longer, 
And the tie that binds grow stronger 
Towards our dear loved Alma Mater. 

Sarah Delano Morton. 




Officers of the Class of 1905 

Wilson Townsend Moog .... President 
Blanche Llewella Crafts . . . Vice President 
Susan Emma Drought .... Secretary 
Floyd Bigelow Dean ..... Treasurer 
Clara Frances Mallory .... Historian 


Mary Andrew 
Jane May Bacon . 
Evangeline Rose Bridge 
Winifred Muriel Byrd 
Mary Alice Churchill 
Helen Barnard Cory . 
Isabel Tuthill Davis . 
Floyd Bigelow Dean 
Ralph Ben Ellen . 
Katharine Estelle Fisse 
Charles Francois Giard 
Marjorie Elizabeth Groves 
Ella May Hillpot 
Laura Bertha Huxtable 
Ethel Garrett Johnston 
Harry B. Keeler 
Virginia Lou Kelly 
Ruth Elizabeth Kerans 
Ethel Blanche McCrillis 
Marian Percival Miner 
Anna Irene Morris 
Lucy Lee Powers . 
Mary Theresa Riley . 
Elizabeth Lee Roach . 

46 3rd St., E. Cambridge, Mass. 
68 Stanton St., Dorchester, Mass. 
. 104 Harrishop St., Roxbury, Mass. 
. 197 Court St., Salem, Oregon 
45 Ketchum St., Buffalo, N. Y. 
162 Washington St., Lynn, Mass. 

Miller's Place, N. Y. 
. 19 Jersey Ave., Ogdensburg, N. Y. 

Willoughby, Ohio 
3144 Allen Ave., St. Louis, Mo. 
. 262 W. Elm St., Brockton, Mass. 
389 Northampton St., Boston, Mass. 

Frenchtown, N. J. 
568 E. 5th St., So. Boston, Mass. 

Tacoma Park, D. C. 
Mason City, Iowa 
Longview, Texas 
Danvers, Mass. 
. 26 Summer St., Hyde Park, Mass. 

Jackson, Mich. 
14 Intervale St., Roxbury, Mass. 
64 Elm St., Jamaica Plain, Mass. 
. 218 Lakeview^ Ave., Lowell, Mass. 
204 Ewing Ave., Dallas, Texas 


THE > E L M E 


Mix A Frances Ross 
Sl ye Shibata 
Gertrude Hellen Smith 
Mrs. Eva Augusta Sparrow 
Carrie Bishop Stanley . 
Edith May Wardrop 
Frank Seymore Watson 

St. Johnsburv, Vt. 
Tokvo. Japan 
587 W. Park St., Dorchester. Mass. 
153 Broad St., Fawtucket, R. I. 
. Willow Road, Nahant, Mass. 
25 So. Oak St., Mt. Carmel, Pa. 
319 So. Main St., Woonsocket, R. L 

Ida Elizabeth Bagg 
Gertrude Damon 
Susan Emma Drought 
Hortense Estes . 
Gr-ace Gardiner . 
EujENE Hamilton Storer 
Grace Helen Swain 
Virginia Marilla Sweet 
Minnie Dorothea Thullen 
Fred Lyman Wheeler . 


1048 Riverdale St., W. Springfield, Mass. 

907 H St., Washington, D. C. 
728 Ontario St., Port Huron, Mich. 
. 281 Dartmouth St., Boston, Mass. 
26 Thomas Park. So. Boston, Mass. 
. 250 Park St., W. Roxburv, Mass. 

West Leeds, Me. 
. 15 Gotham St.. Watenown, N. Y. 

Youngstown, Ohio 
182 So. Main St., Gardner, Mass. 

Hugh John Dugan 
Stanley Edward Fuller 
Ralph Adams Lyford 


Wilson Townsend Moog 
Robert Roscoe Stee\'es 


State Soldiers' Home, Sanduskv, Ohio 
Woodstock, Vt. 
676 Pleasant St., Worcester, Mass. 

West Hartford, Conn. 
Forest Park. Baltimore, Md. 
Moncton. N. B., Canada 

Blanche Llewella Crafts 
Viola May Shaw . 

Harry Parsons Hartman 
Harry Nelson Kinsey . 
G. Sumner French 


Maple St., Milton. Mass. 
. 421 High St., W. Medford, Mass. 


827 Market St., Williamsport. Pa. 

Wichita, Kansas 
31 Stonehousehill St.. Brockton, Mass. 




Senior Class Concert 

Tuesday Evening, May 2nd, 1905, Jordan Hall 
At 8.15 o'clock 


Beach " One Summer Day" 

Chaminade ■' Come, my love, to me " 

Rheinberger ........ "Homewards'^ 


Hauser "Rhapsodie Hongroise " (violin) 


Saint-Saens ....... " Aimons Nous'^ 

Dell' Acqua Chanson Provengale " 


Saint-Saexs ........ Barcarolle 

Miss CRAFTS, Violin 
Miss FRANCES ROSS, Pianoforte 
Mr. RALPH LYFORD, Violoncello 

Whiting ..... Fantasie for Pianoforte and Orchestra 


Orchestral parts played bvDK.J. ALBERT JEFFERY 

Chadwick . To Heliodora 

" Lullaby " " Behind the Lattice " 


F. de la Tombelle, "Andante Toccata," from Sonata in E minor (organ) 






We the Class of Nineteen Five, 
Active, strong and all alive. 
Ever may our members strive 

To act the loyal part. 
Glad our years in N. E. C, 
Faithful to its teachings be, 
We our cherished goal shall see. 

Ne'er lose hope and heart. 

Alma Mater ! Hail to thee ! 
How^ we love thy spirit free ! 
Loyal will we ever be, 

Though far from thee we stray. 
To our hearts thy love will cling, 
Grateful homage will we bring; 
Through the world thy praise we'll sing. 

Thy mem'ries cheer our way. 

All the field of music vast. 
That has glorified the past. 
Has inspired us at our task, 

Kept us true to art. 
Gathered here, an earnest band. 
Firmly joined in heart and hand. 
For the highest we will stand. 

Choose life's better partj 

Gertrude Damon. 


THE > E L M E 



HE honor is ours of being the first class to have taken and com- 
pleted the course since the erection of the well equipped fire- 
proof building in which the New England Conserv'ator\' now has 
its home. This building has given increased facilities for studv in all lines, 
and the growth and scope of the work is nowhere better illustrated than 
in the enlarged organ department. We ought to appreciate having lived 
in this day and generation. 

Yet how long we can claim to have existed as a class would be sur- 
prising to an outsider: as a matter of fact, our organization began in De- 
cember. 1904. And yet we say our class is the first to have its course in 
the new building, because the majority who compose it have taken the 
work during this period. Many of our number at first did not come with 
the intention of graduating, and did not plan their work with that in view; 
others have entered with work sufficiently advanced to allow them to take 
the course in two years. So within the last five years our noble class of 
1905 has silentlv been gathering forces. But most of the work here is so 
distinctly individual, when compared to that of other schools, that one 
hardlv knows in what vear to expect to be graduated until some grand 
upheaval like the fourth grade examinations or the finals brings one to 
realize about where he stands. 

Our officers were elected on January 7, and the names posted — the 
first official announcement that the Class of 1905 was really in existence. 
While we guessed from information culled in different quarters that we 
should have a class of over forty, never more than thirtv-one during the 
next few months were brave enough to publish their hopes of being 
graduated this spring and become identified with the class. How many 
interesting class meetings and social functions they missed by being so faint- 
hearted ! 

Those of us a fittle more daring began to talk about such doubtful 

subjects as class pins, class color and flower, graduation plans, cap and 
gown, and how many meetings were thus furnished with food for reflection 
(since these subjects were usually laid upon the table until the next 




meeting). One of our earliest decisions was to order a pin less pretentious 
than classes usuallv had. and to put the difference in price toward a gift 
from our class to the school — a thing which we hope will become a custom. 

On April 8 a general shock was suffered by the hopeful candidates for 
graduation bv the report that the final examinations would take place 
April 17 and 18, and the "pieces"' would be heard Mav 8. 9. and 10. Then 
it was learned that fortv-nine took those examinations — with a fewer 
number of conditions than anv previous class, not to sav more — we re- 
spectfullv refer the reader to the director and class inspector for further 
information. We do not claim anv remarkable brilliancv as a class, but 
we can conscientiouslv applv the remarks of some of our Facultv that we 
have been hard workers, and illustrate what an institution like ours can do 
to develop general musicianship. 

We claim the honor, modestlv, of taking the initiative in a few direc- 
tions — this probablv because our earlier class organization gave time for 
seeds of class and school spirit to spring up and bear fruit. We bequeath 
to the Class of 19U6 the Senior Bulletin, which became a necessitv to pub- 
lish our appointments, and we hope that in the future it mav continue to 
be used for their good. 

On Mav 2 a class concert was given ifi Jordan Hall, entirelv under 
the direction of the class, and we should like to see such a concert given 
each vear. We seriouslv recommend that future classes consider the sub- 
ject of presenting the school with a gift as a token of gratitude to Alma 
Mater. And we also hope that each vear The Neume mav be published^ 
believing that there is a place for such a book in our midst. 

We of the class do herebv urge ourselves and others who follow the 
art of music to be broad, and studv subiects other than music: to read books 
on science and philosophv as well as on matters musical : to attend lectures 
on literature and topics of the dav. Tn- a serious study of some exacting 
subject such as mathematics, and see how the discipline will sharpen the 
intellect for musical work. 

Be the best possible musician, vet be alwavs something more than a 

Clara Frances Mallory. 




Japanese Music 

HE Japanese music is very much different from European music. 
It is almost impossible to treat it as Western music. There are 
many different kinds of musical instruments, but the most popular 
and common are the samisen and the kote. 

The samisen is a three-stringed instrument. It is a kind of guitar, 
but the tone quality and the tuning are entirely different. This instru- 
ment is used more generally than any other among the common class of 
people. The kote, or Japanese harp, is a thirteen-stringed and flat instru- 
ment which is played on the floor. (When at home, the Japanese sit on 
the floor to read, write, eat, sew, and in fact for everything they do, using 
no chairs). The strings are about half an inch apart, each stretched over 
a small bridge and tied at both ends of the instrument just as tight as 
possible. It is played with three fingers, with the ivory finger nail attached 
to a leather string. 

All music is written in minor keys. There is no key relationship. A 
piece begins in one key and ends in another. There is no cadence ; there 
is no method of notation. For this last reason, the amount of music is 
limited. Instruction is given by ear and by dictation, a short section at 
each lesson. The teacher plays and sings and the pupil plays after her. 
Afterwards they sing and play together until the piece is learned. It takes 
a long while to learn one piece. Since there is no notation, the pupil 
cannot take up any new piece to study by herself. 

The people are getting hold of Western music very rapidly. It is 
only a little over thirty years ago that the Japanese government started the 
Conservatory of Music at Tokyo, at which time they applied for an instruc- 
tor in America. Through Dr. Tourjee, Mr. Luther Whiting Mason went 
over to take the position, and laid the foundation of Western music in 
Japan. If has been very hard for the Japanese people to understand and 
adopt Western music, and they have taken very little interest in it, but 
the government takes a great deal of interest and encourages the people to 
make special study of it. They send specially talented pupils abroad to 
study either piano or violin. 




Thev charge almost nothing at the Conservatory. Bv paving one 
yen, which is about fiftv cents in American monev, one can take all the 
studies required at the Conservatory, taking piano or violin in a class of 
three, theory, harmony and voice, all in classes, two lessons a week. Some 
of the Conservatory teachers give violin lessons down town in Tokyo, 
charging by the month only twenty-five cents, which is about twelve and 
a half cents in American money, and giving a half hour lesson a week. 
They have to do this in order to get the people interested in it, but the 
present outlook is very encouraging. 

People are coming to be more interested in it, and pay more attention 
to it. Our public school music is most promising. As the time goes on, 
the new method and music may become more natural to the people as a 

SuYE Shibata, Tokyo, Japan. 




Concert Deportment 

Perhaps you think you're finished, and ready quite for fame, 

When you've mastered Stasny's technique or that of others I might name; 

Or when you've learned to warble like the far famed nightingale, 

Or played a Bach fugue with your feet in a way to turn us pale. 

You are very much mistaken, for your labor will be lost 

If you've not had Stage Deportment, which you need at any cost. 

In our school are many subjects, quite essential to be sure 

To the rounded-out musician, and their value will endure. 

There's Theory and Harmony and Composition, too; 

And that other branch. Analysis, which tends to make us blue. 

Solfeggio is a science by everyone adored ; 

We have to work on it like mad or get completely floored. 

There are some who seek the spirit of the Violin to tame, 
And some at Orchestration try their hand and dream of fame. 
There are Lecture Courses five or six, and Normal teaching daily; 
Recital class and Opera School, where ever\ thing goes gaily. 

All these are very good, I grant, and needful in their turn. 

But Deportment for the Concert Stage is what makes genius burn ! 

This most important study we pursue down in the Gym ; 

We're in full attendance every week, with never failing vim. 

'Tis such a real necessity, that every student feels 
He could no more do without it than an auto without wheels. 
If you're needing entertainment, and have an hour to spare, 
Just visit Mr. Gilbert's class adown the winding stair. 

Here you will find us hard at work under careful training ; 
We sit and stand and walk by rule ; reposeful ease we're gaining. 
With matchless grace advancing to the center of the stage. 
We bow for Mr. Gilbert 'neath his careful espionage. 


THE > E U M E 


An imaginan' audience watches us perform. 
And when our little stunt is done, applauds us long and warm. 
We bow once more, and backward glide, then stop to bow again. 
Oh ! 'tis hard to place one's feet iust so. and not trip on one's train I 

There are ven- manv things we learn in this instructive hour. 
We're shown how relaxation will assist to highest power: 
We're tau2:ht the proper wav to sit on a piano stool. 
And when before the footlights, though frightened, to look cool. 

We're trained to be expressive with our faces and our hands. 
And all our public conduct is laid out on careful plans. 
Our angles are all rounded out, rough edges are smoothed down. 
And a hiehlv polished gentleman evolved from anv clown. 

And when success we have achieved, and great becomes our name, 
We'll give all honor to the man who ritted us for fame. 
So remember Stage Deportment, and if vou've an hour to spare. 
Just visit Mr. Gilbert's class adown the winding stair. 




A Parable 

Chapter I 

1 And lo, it came to pass on the morning of the tenth day of the 
month, that the Chief Priests and Elders held a consultation, and a decree 
was put forth that the Scribes and Pharisees, called Seniors, should be judged. 

2 And the Chief Priest, he of the House of Benjamin, caused a notice 
to be posted in all the principal places of the temple, advising the Scribes 
and Pharisees, called Seniors, that the trial should be on the morning of the 
seventeenth day. 

3 And lo, while he yet spake, came another High Priest, he of the 
House of Samuel, crying in a loud voice that he should judge the multitude 
at the last hour of the same dav. 

4 Behold, when it came to pass when the davs were accomplished, the 
Scribes and Pharisees went up into the Temple to be judged. 

5 And they spake one to another words of cheer and counsel, and 
verilv the door was opened and they went in to where he of the House of 
Benjamin presided. 

6 And vet a little while tarried thev in the torture chamber, and the 
door was opened, and their faces revealed the sorrow or joy in their hearts. 

7 And verilv they sat themselves upon the benches and wept. 

8 And this was the morning of the first day. 

Chapter II 

1 And straightway when the eleventh hour had come, they took them- 
selves to the Inner Sanctum, where he of the House of Samuel presided, 
and seated themselves before the Tribunal. 

2 And the Chief Priest, Samuel, said unto them, ''Behold, in the fear 
that ve enter into temptation, and lest vour ev^es seek counsel of another's 
labor, but two shall seat themselves in one row. 

3 ''And hearken unto my word when I say unto vou to lend me your 
ears, and he that hath ears to hear, let him hear." 

4 Then the Chief Priest, Samuel, stood up in their midst and smote 
upon an instrument of more than ten strings, and lo, a sound came forth. 




5 And they asked him to strike it the second time, and he struck it the 
second time. 

6 And they asked him to strike it the third time, and he struck it the 
third time. 

7 Then the Chief Priest, Samuel, said unto them, "Verily, I shall 
strike it for you but once more as ye have heeded not my words from the 

8 And a loud cry of lamentation went up from the multitude assembled. 

9 Then it came to pass after this tribulation was over, the multitude 
went out to break their fast, and did eat and drink. 

Chapter III 

1 And behold, on the morning of the second day, the multitude gath- 
ered in the lower hall of the Temple, and shouts of joy, or wailing and 
gnashing of teeth, resounded as their sentences were told to them. 

2 And the elect wept with the condemned and offered words of cheer 
for the second trial. 

3 And lo, there were some who were not to be put to trial, and 
the others marvelled greatly at their vast learning, and whispered, one to 
another, — 

4 "Here is he who is exempt. How unfortunate are we, oh, we of 
httle knowledge ! " 

Chapter IV 

1 And lo, it was noised abroad that Caesar Augustus of the Temple 
had proclaimed to the Chief Priests and Elders that no one should be 
elected to a seat in the Alumni who could not sing anything his eyes 
beheld at the first trial. 

2 And forsooth, this decree brought sorrow to many hearts, as there 
were many in the multitude who had been blessed with the gift of sight, 
but not first sight. 

3 And verily they counselled together and wondered greatly what should 
be done with them. 




4 And behold, a prophet came in their midst and said, ''Be of good 
cheer, my brethren, for verily I speak whereof I know, and the councillors 
and rulers will judge you wisely." 

5 But they were greatly terrified and believed him not. 

6 And behold, when the hours were accomplished, and it came their 
turn to pass in to their trial, their tongues clave to their mouth, their jaws 
refused to open, their knees quaked with fear, so that, forsooth, they leaned 
themselves against one of the pillars of the Council Chamber until they could 
quiet the chattering of their teeth. 

7 And as sheep before the shearers so they opened not their mouths. 

8 But coming forth from the council chamber with beads of sweat 
upon their brows, they spake words of cheer to the waiting multitude, 
saying: "Be of good cheer. Possess thy soul with intervals. Gird on thy 
augmented fourths and diminished sevenths. 

9 ''Sing with all thy might, and as David of old smote the Philistines, 
so this our enemy, known as 'Solfeggio,' shall fall before us." 

Chapter V 

1 And when the seven days were accomplished when the multitude 
were to be judged by Caesar Augustus of the Temple, they brought their 
talents to him. 

2 And there were many who had not wasted their time in riotous living, 
but had gained many talents. 

3 And when these showed their talents unto Caesar he said unto them : 
"Well done, good and faithful students. Ye are worthy of a high seat 
among the Alumni." 

4 But unto those who had brought but one talent he said, "I will give 
thee more time to go and improve thyself. 

5 "I know thv work and service, notwithstanding I have a few things 
against thee. Show to me thy powers of first sight and all other things 
will be forgiven thee." 

Thus endeth the acts of the Scribes and Pharisees, called Seniors. 


THE > E L M E 


1905 Primer 

Perhaps to some who o er this glance 
Inane 'twill seem, a work of chance, 
No meaning find vou in its measure. 
Or fault\- rhvme. to give you pleasure. 
Read not across but up and down, 
Be >;:re vou notice cap and gown. 
L then will see the questions dire 
So prone to rouse the Seniors' ire — 
The much discussed bust and pin — 
Pro :r.r meetings till t^nlight dim, 
In>? : to teats of speech 

\o statesman wise would dare impeach, 
Yielding a chance for rare display 
Of talents, long hid from light of day. 
Unheeded were, and slight appeared 
Be> :ce the question far more feared — 
Enshroud ourselves or not, in gown 
To be laughed at bv half the town? 
Confess now, vou who wanted them, 
A eloomv si^ht we would have been. 
' Profs ' look well in gowns of black. 
As oft in stvles thev're somewhat slack. 
No meaning have thev to us "Grads" : 
Decrees left out. we ape the fads 
Good folks elsewhere are said to have. 
T) ve who for this classic garb 
With doughtv courage fought so hard. 
Now weep no more but dry your tears. 
No one will fail to call you "dears." 
As slowlv ghding all in white. 
Yoi: ". angels seem of light, not night. 
N reed to mention mere man here. 
One never thinks his clothes are ''dear'' ; 
The tailors, onlv, know the truth. 
Forgetting not your note — his proof.) 
O let us then unite in song. 
" Rijjht alwavs triumphs over wrong 
\j can trust the taste of "Nineteen Five,'' 
She's bound to be the Con's great pride. 





May 1, 2, 3, Large rush to the bargain counter of the New England 
Conservatory music store : panic resulted, but no one injured. 

May 8, 9, 10, Quaker Oats Firm solicited the Senior Class picture 
for "the smile that won't come off" ad. 

May 10, Chafing-dish party in Gym. Seven chafing-dishes and six 
gentlemen present. Same date rumored that two Seniors attended Sol- 
feggio : rumor denied. 

May 13, Senior seen going to Solfeggio. Several people fainted. 

May 17, E. J. dreamed that Mr. Cutter made her leap down to a 

May 21, Senior Class gave Recital at Perkins' Institute. Institute is 
now closed ! 

We know a young girl from N. Y. 
Who never does things on the sly ; 

But she always shows heat 

When she is called Sweet, 
Although there is no reason why. 

There was a young maid called Irene 
Whose wit was exceedingly keen, 

But alas and alack ! 

She would ever hold back. 
And was always afraid to be seen. 




Pictures No Artist Can Paint 

Miss Powers — With a $2,000 position. 

Miss Mixer — With a frown. 

Miss Byrd — In a cap and gown. 

Mr. Dean — In a hurry. 

Miss Smith — Without squash pie. 

Mr. Dugan — Appearing in Grand Opera. 

Miss Huxtable — In a rage. 

Mr. Ellen — Attending a Senior class meeting. 

Mr. Frank Watson recently entered the editors' sanctum, and said 
he was about to apply for a divorce. We were greatly surprised as we 
thought he had come for a certificate. 

First Senior — "Does Mr. Keeler know about the special meeting?" 
Second Senior — '^No, I only told him once." 

During a sight playing lesson one sultry day our teacher became very 
much distressed by the stupid blunders made by the members of the class. 
With a strong, stern voice he requested us to "please all play in the same 
key." As our teacher was making his ardent appeal a harmony teacher 
came to the door and hearing the reprimand, said, "What ! don't you allow 
each one to play in a different key? Oh, give the young moderns a 
chance ! " 




Esprit de Corps 

nIKE manv another term, college spirit is hard to define, vet we are 
all positive that there is such a spirit, and that we know when we 
rub up against the genuine article. Does it consist in ear splitting 
veils and flaunting banners on gala occasions ? Surelv not, though such 
manifestations are inevitable when the true spirit exists, and greatlv promote 
bonne camaraderie. What a difference this exuberance of youth w^ould 
make — sav on the annual Founders' Dav Picnic ! Is not the true and 
worthv college spirit the loving gratitude which each one feels toward his 
Alma Mater — a gratitude which inspires in each the desire to work for the 
advancement, material, intellectual, artistic of the institution, which leads 
to a willingness to make sacrifices, if necessarv, and w^hich strengthens the 
determination that we will see to it, in the Platonic phrase, "that the 
Republic suffer no harm " ? 

Wherever college spirit is lacking class spirit will also be weak ; con- 
verselv, a strong class spirit will generate a wholesome college spirit. Up 
to this vear there has been manifest at the Conservaton' verv little institu- 
tional or class lovaltv. The reason is obvious : the prescribed and elective 
svstem arranged with a view to completion of certain courses in a definite 
number of vears does not obtain. The politv of the school does not call 
for the division into classes of the student bodv. Those who are or expect 
to receive diplomas at the close of the season are called Seniors — the only 
class perhaps worthv recognition. 

Can conditions at the New England Conserv-atorv be bettered or are 
thev good enough now ? The Director evidentlv thinks that there is room 
for improvement, and has taken a step in the right direction when he 
decrees that those who wish to graduate in a certain year shall take pre- 
liminarv examinations two vears before. 

Now a practical hint or two as to helps in promoting class spirit. 
Following the excellent example of the Class of Nineteen Five, let there be 
a strong class organization earlv in the fall, of those who expect to graduate 
at the end of the season. Some wise superior might also gather the new- 
comers into a Freshman fold. This would provide for three classes : It^ 




Not It, and The Others. Class socials could be held frequently — informal 
affairs, where we could become better acquainted with the talents and 
character of one another. Class dues, too, are a wonderful bond. Strange 
what a community of sympathy and interest is aroused among those whose 
pocketbooks are touched ! 

What a magnificent opportunity there is for presentation of class plays 
in Recital Hall ! Then if the class wished to tender a reception to the 
Faculty and Trustees, into what an artistic reception room the gymnasium 
could be transformed ! The preparations for such events afford splendid 
chances for the promotion of friendships and class spirit. 

Fellow students, we are studying the noblest of all arts in one of the 
best equipped institutions of its kind in the world. Shall there not be, then, 
loyalty to one another and to our glorious New England Conservatory ? 

Fay Look. 

Library— Interior 

Organ in Jordan Hall 
Built by the Hutchings-Votey Organ Company, Boston, 1903 




Specifications of the Or^an 

Gift of Eben D. Jordan 

Compass of Manuals, C to c4 Compass of Pedale, C to gl 


Diapason 16 feet Flute 4 feet 

First Diapason .... 8 feet Octave 4 feet 

Second Diapason ... 8 feet Twelfth 2S feet 

Flute (Gross Flote)* . . 8 feet Fifteenth 2 feet 

Gemshorn 8 feet Mixture 4 ranks 

Gamba (for solo work) . 8 feet Trumpet 8 feet 


Bourdon 16 feet Flute (harmonic) . . 4 feet 

Diapason 8 feet Violin 4 feet 

Bourdon 8 feet Dolce Cornet ... 4 ranks 

Viola 8 feet Trumpet 16 feet 

Aeoline 8 feet Cornopean 8 feet 

Gamba (for solo use) . . 8 feet Oboe 8 feet 

Quintadena ..... 8 feet Vox humana .... 8 feet 
Voix Celestes, 8 feet (2 ranks) 

CHOIR ORGAN (In Separate Swell-box) 

Dulciana 16 feet Flute (Rohr) .... 4 feet 

Diapason 8 feet Piccolo 2 feet 

Bourdon 8 feet Fagott 16 feet 

Salicional 8 feet Euphone (free reed very 

Dulciana 8 feet light) 16 feet 

Flute (Traverse) ... 8 feet Clarinet 8 feet 

PEDAL ORGAN (Augmented) 

Bourdon 32 feet Violoncello 8 feet 

Diapason 16 feet Flute 8 feet 

Violone 16 feet Bourdon 8 feet 

Dulciana 16 feet Octave 4 feet 

Bourdon 16 feet Trombone 16 feet 

Soft Bourdon .... 16 feet Trumpet 8 feet 

* The qualifications in parentheses do not appear upon the register knobs; they are given here for 
purposes of information. 

Eben D. Jordan 




Specifications of the Or^an 

COUPLERS (Operated by Tilting Tablets over Swell- 

Swell to Great Unison Swell to Swell at Octaves 

Swell to Choir Unison Swell to Great at Octaves 

Choir to Great Unison Swell to Swell at Sub-octaves 

Swell to Pedale Unison Swell to Great at Sub-octaves 

Great to Pedale Unison Choir to Great at Sub-octaves 
Choir to Pedale Unison 


Six and Release, operating upon Swell and Pedale 
Five and Release, operating upon Great and Pedale 
Four and Release, operating Choir and Pedale 
General Release, Pedale Release 

Four and Release partiallv duplicating Swell Pistons 
Four and Release partially duplicating Great Pistons 

(Operated by foot — pistons on pedal frame) 

General Release 
Full Choir 

Four Collective Pedals, affecting entire organ 

Crescendo Pedal, with indicator at keyboard, showing exact position at all 

Sforzando Pedal 


Great to Pedale, reversible 

Balanced Pedals for Swell and Choir boxes 

Tremulants for Swell and Choir 


Electro-pneumatic throughout, except connections with swell-boxes 

Pedal kevboard, radiating and concave 

Action extended to keyboard in front of the stage 

Manual-key action provided with device for restoring modified touch of 






at XeiL England Conservatory of .Music, 

Boston, Oct. 20, 1898 

Chapter Roll 


New England Conservaton'^ of Music 

Boston. Mass. 


Broad Street Conser\aton- of Music 

Philadelphia, Pa. 


Detroit Conser\ator\- of Music 

Detroit, Mich. 


Ithaca Conser\ator\- of Music 

Ithaca, N. Y. 


University School of Music . 

Ann Arbor, Mich. 


Cincinnati College of Music . 

Cincinnati. Ohio 


Syracuse Universitv . . . . 

Svracuse, N. Y. 


Active Members 

Fravk S Rrowv 

Wilson* T \Ioon 

Percy I Rurrfi i 

Arthur A AfouiTOv 

T. Clifford Campbell 

Elisha p. Perry 

George P. Chatterley 

Carl Peirce 

Harold A. Cole 


William T. Davis 

Harry Rogers Pratt 

Floyd B. Dean- 

Erxest ^L Sheldox 

Alfred Di Pesa 

R. RoscoE Steeves 

J. Herbert Dodge 

Albert J. Stephens 

Hugh J. Dugax 

Ernest T. Stoxe 

Stanley E. Fuller 

EuGEXE H. Storer 

Archie M. Gardner 

JoHX A. Stromberg 

Charles J. Giard 

Shirley F. Stupp 

Albert L. Hale 

Tadaxori Togi 

Ray L. Hartley 


Willis C. Hunter 

George D. Vieir.\ 

HiXTON H. Jones 

Ernest A. Viviax 

Harry B. Keeler 

Frank V. Weaver 

H. Fay Look 

F. Lyman Wheeler 

Ralph Lyford 

Horace Whitehouse 

D. Clifford Martin 

Miltox a. Woodbury 




Alpha Chi Ome^a 


De Pauw University . . . . 

Greencastle, Ind. 


Albion College . . . . . 

Albion, Mich. 


Northwestern University 

Evanston, 111. 


Pennsylvania College of Music 

Meadville, Pa. 


New England Conservatory of Music 

Boston, Mass. 


University of Michigan 

Ann Arbor,Mich. 


University of Illinois . . . . 

Champaign, 111. 


University of Wisconsin 

Madison, Wis. 


Elizabeth Bates 
Lillian Bull 
Winifred Byrd 
Blanche Crafts 
Mable Davidson 
Gertrude Damon 
Laura Howe 
Sarah Morton 

Active Members 

Mabel Pautot 
Florence Reed 
Carol Stanley 
Kate Templeton 
Winifred Van Buskirk 
Alice Walk 
Caroline Schmidt 
Blanche Ripley 


Mrs. H. H. A. Beach 

Mrs. Helen Hopekirk 

Miss Margaret Ruthven Lang 

Miss Maud Powell 

Mme. Antoinette Szumowska 

Mme. Fanny Bloomfield-Zeisler 


Mrs. Pauline Woltmann-Brandt 
Mrs. Ralph L. Flanders 

Mrs. Charl 


Mme. Julia Rive-King 
Mme. Adele Aus der Ohe 
Ellen Beach Yaw 
Mme. Maria Decca 
Mrs. Mary Howe Lavin 
Neally Stevens 


Mrs. Clara Tourjee-Nelson ' 
Miss Sarah Maud Thompson 
:s A. White 





Alpha Gamma Chi 

Established at Ottawa, Ohio, in 1898 


Beta New England Conservatory . 

Gamma Cincinnati Conservatory of Music 

Delta Richmond College (contemplated) 

Ottawa, Ohio 
Boston, Mass. 
Cincinnati, Ohio 
Richmond, Va. 


Active Members 

Jessie M. Anderson Belle Krome 

Angie E. Coombs Edna Sheehy 

Alice M. Gilbert Elsie M. Stokes 

Mary D. Jones Eula I. Varnell 

Associate Members 

Florence M. Auer 
Elizabeth I. Bickford 
Ella Reynolds Burns 
Grace Cover 
Amanda B. Ellinsinger 
Mary B. Evans 


Agnes W. Gannon 
Genevieve G. Gannon 
Lo Belle High 
Clara Raife 
Helen B. Sullivan 
Sadie S. Waite 


THE \ F: LM F 


Pi Phi 

r^haptfr Hoi I 

Alpha Woman's College ... Vy. Vnt[\,?2i. 

Beta New England Conservator)' . . iW-iUm, Mass. 

Gamma Miss Gordon's School .... Philadelphia, Pa. 


A c 1 1 V M fi rri b f- r s 

Elizabeth H. Link £da Colter 

AxxA R. Stoxe Emily Wilsox 

Jaxice GRimx Margaret Willis 

Ethel Williams Mary Jessie Browxell 

Elizabeth Marcy 




Si^ma Tau Theta 

Active Members 

Faith W. Kidder Marian Talbot 


Hilda Swartz Olive L. Whiteley 

Janet M. Bailey Jessie Northcroft 




Fortnightly Club 

Organized December i, 1902 
Honorary Members 

Mrs. Margaret Avery Miss Martha Perkins 

Mrs. Pauline VVoltmann Brandt Miss Sarah Perkins 
Mrs. Adeline C. Ferguson Miss Elizabeth I. Samuel 

Miss Ellen Wheelock Miss Marie Treat 

Miss Lucy Dean 

Active Members 

Edna J. Sheehy 
Hilda Swart z . 
Faith Kidder 


Janet Bailey 

Florence Adams 

Alberta Amstein 

Evangeline Bridge 

Laura Brown 

Winifred Byrd 

Alice Churchill 

Angie E. Coombs 

Mrs. Jean Robinson-Couthard 

Blanche Crafts 

Helen Daggett 

Nell Donaldson 

Madge Dixon 

Emma Drought 

Hortense Estes 

Bessie V. Farnsworth 

Lillian Goulston 

Teresa Hanaway 

Laura Howe 

Belle Krome 

Elizabeth Link 

Vice President 
Recording Secretary 
Corresponding Secretary 

Lottie McLaughlin 
Annina McCrory 
Sarah Moore 
Sarah D. Morton 
Gertrude Norton 
Lois Parry 
Helen Pond 
Elizabeth Roach 
Frances Ross 
Caroline Schmidt 
Margaret Seeds 
Ida Sowers 
Grace Swain 
Marian Talbot 
Blanche Thomas 
M. Dorothea Thulen 
Winifred Van Buskirk 
Mary Williams 
Margaret W. Willis 
Olive M. Whiteley 




The Youn^ Women's Christian Association 

HE Association work aims for the development of spiritual life among 
the young women of the institution, and for training along such lines 
as will best fit them for future Christian life. 

An interesting course of Bible study has been pursued during the year 
with a membership of twenty-three, Miss Sarah Perkins, Instructor. 

Officers for 1904-1905 

Jean L. Wood 
Lucille Vogt 
Kate Fisse 
Jessie Hawley 
Lu Ethel Hewitt 
Nell Donaldson 


Chairman of T)evotional Committee 
Chairman of Bible Study Committee 
Chairman of Social Committee 





Aueusto Rotoli 

HUGUSTO ROTOLI was born in Rome. Januarr 7. 1S47. At 
the age of nine he entered the Hospice of San Michele and 
was chosen to be one of the choir bovs for the Lateran and Libe- 
rian Chapels. A: the end of two months he made his debut as soloist at 
the Juhan Chapel of St. Peters, his aria being the "Ave Regina Calorum " 
of Tornelli. His passion for music, he said, dated from that moment. 
Great demand followed for his ser\'ices in cathedrals and sacred melodramas 
at the Academv of Music. 

At the age of eleven he was regularlv engaged as soloist at S:. Peter's 
on salarv. Here he spent nve vears learning the traditional masterpieces of 
Italian art — the music of Palestrina, Porpora. and other favorite Roman 
ecclesiastical writers. 

After losing his natural soprano voice, he devoted himself seriously to 
the principles of singing under Luchesi. whose direction he followed till in 
1868 the title and position of "Master in the Academv of St. Caecelia" was 
obtained. His success as organist, conductor and composer was becoming 
so recognized in Italv and other countries that in 1873 the Queen of Por- 
tugal bestowed upon him the insignia of the Order of the Cross, in recogni- 
tion of his ser\ices to art. In 1876 he \-isited London for the first time, 
where he won subsequent distinction. 

In 1885 Signor Rotoli accepted the position as vocal instructor in the 
New England Conser\'aton". He ^ave a farewell concert in Rome, which 
was a remarkable occasion. The aristocracv of the city, headed by Queen 
Margherita, who was for manv vears his pupil, paid homage to the great 
artist, whose loss was felt bv all music loving Italv. 




Rules for Attending Concerts 


1. Come late. 

2. Leave earlv. 

Wear creakv boots, and make vour entrance and exit at pp passages. 
Encore evenbody. 

5. Converse with your friends ; only a nar- 
row mind is unsocial while music is being per- 

6. Instrumental music mav be ignored ; it 
is generallv meant as an accompaniment to con- 

7. Violin music is an exception to the 
above rule. Listen attentivelv ; open vour mouth 
at the softest passages; the more vou don't hear 
it, the finer it is. 

8. Be wary lest you applaud too soon at 
ver\' soft endings. Watch the performer ; if it 
is a soprano, she will shut her mouth ; if it is a 
violinist he uill flourish his bow ; then vou may 
safelv stamp, whistle, clap, shout "Bravoo," 
"Bravee," "Bravah," or anvthing vou like. 

9. Loud endings are also to be applauded, 
but vou need not wait for the end ; as soon as 
the singer hits the high note — go it ! 

10. Changes in programs are frequently 
made ; be non-committal. 

11. There are manv European modes of 
applause. Always use these in preference to 
the American manner ; shout " hrava^^ 
" encore,'' etc., and somebody may mistake you 
for a great kanoozer (connoisseur). 

12. You mav hum the tunes if you know 
them. You may also hum them if you don't 
know them, but the former method is, on the 
whole, to be preferred. 

13. It may be possible that you do not 
own the hall, singers, orchestra and audience, 
but there is no harm in acting as if you did. 

14. Wag your head. 

15. Beat time with your feet. 

16. Paste these rules in your hat or bonnet. 
Louis C. Elson. 




Ludicrous Incidents in a Musician's Career 


earliest connection with musical affairs, as near as I can remem- 
ber, dates back to one dav when I had reached the tender age of 
live and was punished ( in a manner I shall not dwell upon here ) 
for following a hand organ all the afternoon, while the poHce and neighbors 
were searching the highways and b\'^vavs for me. Candor, however, com- 
pels me to confess that it was not the music of the organ that attracted 
me : it was the droll httle monkev accompan\ing the outfit. 

Later on, being sudderdv seized with a desire to play the piano, 
because I en\-ied the popularity* of two of mv voung friends who could play 
a few tunes. I was promised a piano and some lessons if I would consent to 
have a particularly troublesome molar extracted, which no previous amount 
of cajoling or persuasion had succeeded in accomplishing. The tooth came 
out and the piano came in. From such beginnings as these do careers 
sometimes spring. 

One time, while waiting for mv lesson. I heard mv old teacher. Pro- 
fessor Schelling. sav to one of the "sudden rich" women of our citv. "It is 

useless for vour daughter to studv anv more, Mrs. X . I can do no 

more for her. Whv ? Because she has no talent and she lacks the neces- 
sary- mental faculty." "Sure that naden't worn* ve, sur," repHed Mrs. X . 

"Mr. X has pHnty av money and he'll buy her onnvthing yez naae 

for her : just ve tell him where he can buy those things." 

During mv career as a concert pianist I had many amusing experi- 
ences. One evening a ladv who posed as a ver\- musical person and a great 
patron of art. invited me to play for some friends at her New ^ ork home. 
Among other things I plaved a piece I had just written and when I finished 
it she smiled sweetly and gushingly murmured. "Oh, thank you so much, 
that is mv favorite nocturne." For a long time I wondered just who the 
joke was on. 

While on a southern tour in 1885, it happened one day that by some 
oversight the box containing the legs and pedals of my grand piano was 
not taken out of the baggage car with the piano and I was obhged to set 




the piano up on saw-horses and enh'st the services of the stage carpenter to 
build a clumsv but useful substitute for the regular pedals. Bv draping the 
piano I managed to relieve the incongruous combination to a certain extent. 

Another night when I braved the rigors of a blizzard to play in Lvnn 
the piano became stuck in a snowdrift near Swampscott and I was given an 
upright belonging to the hall. In the middle of a solo I put down a pedal 
which proved to be the "soft stop," and the force of mv foot broke the con- 
nection. I w^as obliged to apologize to the audience, while the janitor in 
overalls and jumper helped me tie the thing up inside of the piano with a 
piece of rope. I made a hit, but not of the sort I expected. 

I picked up the "Etude'' one day and in glancing through it I was 
amazed to find a letter inquiring about me and after it the editor's replv : 
"Dennee was a pianist, composer and teacher at the N. E. Conser\^atorv, 
etc. He died four vears ago." I had personallv discovered no svmptoms to 
indicate that I was in any sense "a dead one," so I wrote to the editor that 
I was a prettv livelv corpse just about that time. 

About eighteen vears ago a lady called on me who had four girls whom 
she w^ished me to instruct. She asked mv terms for half-hour lessons, and, 
after haggling over the price for some time trving to get a reduction, finally 
agreed that I should begin the lessons next dav. Promptly to a minute she 
arrived with her four girls and handed me some monev, saying, ''I subboze 
I bay in advance, eh ? " I counted it and remarked that she evidently 
intended to pav onlv one quarter of the sum that dav. "Vun quarter? vat 
vou mean ? dot is it all ! dot is the brice vou sav for vun-half hour a veek 
for mv four girls, aind it ? It is needless to sav that I lost four pupils 
right there. 

All piano teachers have met those pupils who sav thev cannot recall 
the names of the pieces and studies thev have had, 'but one was in a vel- 
low covered book and the other a green one ; and oh, ves ! I've plaved 
Tarantelle, and I've had a book of ' eetudes ' bv ' Kzurnev.' '' But I think 
the prize goes to the voung ladv who said in replv to the usual question, 
"The last things I plaved were the ' Choppin Valises' and one of his 
' Shurzoes.' " 

In the spring of 1902 I received a letter from a voung man out West 
who had met one of mv pupils. He said : 'T want to studv piano; how 
long will it take to graduate from the Conservaton' ? I have never played piano 
but I am considered a good musician and have had lots of experience ; I played 


THE > E U M E 


bass drum in our band for three vears and I am sure I can carch on 

A new pupil once gave me a great deal of trouble for manv weeks. 

She could not seem to grasp the relationship between the plaving muscles 
and the kevboard : touch and tone remained a sealed book to her. At 
last in desperation I asked her if the piano she practiced on had a ver\' easy 
action. — was it an old-fashioned square or an upright? "Oh, I haven't 
anv piano." she simpered, "I practice on mv grandmother's melodeon." 
That seemed to be mv vear for such experiences, as it was onlv a few weeks 
later that I noticed one of the pupils who seemed to be a ven" bright girL 
would strike a chord, then look at her hands, then at the music and play it 
again. This stuttering became more pronounced when she plaved chords 
in the upper part of the keyboard. Questioning brought out the fact that 
■'ever\thing sounded wrong*' on mv piano. "Your piano is out of tune, 
evidentlv ; how often is it tuned ? It should be tuned four times a vear at 
least," I assured her. Her answer staggered me, — the piano had been 
bought four vears before and had never been tuned since. Her father came 
to see me verv* indignant. "When I bought that piano thev guaranteed it 
for five vears," he asserted, "and I am going in and tell them what I 
think." I linallv succeeded in convincing him that the poor abused manu- 
facturer was innocent of anv false representation. 

While one of mv operas, the Defender, was being rehearsed, the cho- 
rus was at first long on tenors but short on basses : unusual, but true. One 
evening after rehearsal a comical looking little chap with a shrewd droll 
face stepped up to me and said he understood basses were needed : would I 
tr\^ his voice. He sang down the scale and managed to pump out a low G. 
I told him I was sorrv, but his voice was too weak. He turned to go 
remarking, "I was afraid it would be : vou see I'm a tenor, but I need a job 
and I thought I might squeeze in as a bass." Scenting some fun. I asked 
if he would let me hear the tenor end of his voice. He fairly astounded us 
all bv singing up to high C in a voice at once so robust and pure in tenor 
quality that he was engaged on the spot. He proved equal to three orc;- 
nan' tenors and was eventuallv one of the most valuable men in the opera, 
working into a small part. Such is the reward of persistence. 

Down in Maine last summer a terrace was being made around the 
cottage next to mine and I strolled over to watch the two old men who 
were digging and doing the grading. Thev were both over seventy years- 




of age and looked as if they were made up for a rural comedy-drama. One 
of them saluted me something like this : " Be you the feller who was 
playin' on the pie-anner a minit ago ? " I acknowledged my guilt. "Well, 
I'm a musicianer myself," was his surprising statement. "Are you, indeed ! " 
I ventured. "Oh, yes, I play the fiddle. I'm considered abaout the best 
fiddler 'round here. I make fiddles, I do. I got one daown to the haouse 
that Lem North ofifered me fifteen dollars fer. He's a crank on fiddles ; 
got one cost him fiftv dollars, a real old one. Yes, sir, I plav the fiddle ; 
I've played into concert right in the Taown Hall here. I like classicle 
music the best, but you can't plav it fer people here, no sir! they ain't 
^ddicated up to it. I tell you, tho, vou can't beat Mowzart, Faust and 
Trovatory, no siree ! Them's mv favorite composers. I don't care nuthin' 
abaout Wagner nor none of them new fellers." At this point I suddenly 
had business in the house — it was too rich. I felt that I must laugh or 1 
should choke. I found mv friends convulsed over the conversation and the 
utterly ludicrous combination suggested, and to this dav they ask me how 
my brother artist is progressing with his shovel and fiddle technique, and if 
I have found a composer yet who can equal "Mr. Trovatory.'' 



Recital Calendar for 1904-1905 

Septe>iber 27. — Recital by Adranced Students. 
OCTOBE ?. — PiaiM^orte Recital br Mr. Edwin Kkhre. 

Xo\'E\: z z " - ' — r : acert hv Orchestra and Advanced Students. M si Ge r- 

: It I - izi Mr. Frank Watson, soloists. 
No\T>:zzz — ? T br Students erf the Advanced Classes. 
Z z : z :3ER. 19. — Concert bv Orchestra and Chorus. 

— Recftal bv Mr. Carl Stasnr, assisted bf Mr. Wallace Good- 
: :r. mi Mr Perrr H'znt. 
Jaxuahy If? . — ? : r r : il by Mr. Frank Watson. 

Fiz~ v -~ v 1 — ? : - r Mr. George Proctor. 

Fez;.--.-". — ^ - -: - :t: :-.^rr.:^. Miss 

Ma;: :h : : , : - : 

MaJ Z. : — ? : :: H -t: J H r :v Mr. 

ALuiCH 21. — r - 7 T Dv Mr. Hemr M. Dunham. 

Majich 27 — 5 _ Mr. Wilham H. Dunham, assisted br Dr. 

J. .V:r" . z-r Mr. Alfred De Voto accompanist. 

AzRZL : — ? i.iotorte Recital bv Mr. William Strong. 
A?? 1 - — Mustel Organ Recital br Al|dionse Mustd, Otganist-CoiiqMiser, 

?i - ^ ^^- A^ed De Voto at the pianoforte. 

11 — ? : : r nf Conservatonr Opera School at Boston Theatre. 

ApRii 1^ — C : T i^estra and Chorus. 

--- ~ z 1 ' — J r ^ - - iDia. Fratemitr. 

_ - — J r : A H N. Redman's CompositicMis. 

May 2 — C A s 

\L\Y 1 . — A _ 7- : : ? : Hiny B. Jepson ci Yale Un ivasitw . 
May 11 — ? 7 M:. Edward Klahre. 

M ay _ - — J ; r 1 r : . ; ot the Ensemble Qass. 

\L\Y 2 : — J : r cert br Orchestra and Adranced Students. Miss Georgina 
Nr Mrs. Inez H. Dunfee. 


The Student Problem in the Cities 

O the sincere lover of his kind, and to him who seriouslv looks into 
the future, no problem is of more absorbing interest than that 
which concerns the voung men and v^oung women who are each 
year entering our great "homeless cities." Especially is this true as regards 
the student population of a citv ofiering, as does ours, unlimited oppor- 
tunities for culture in all departments of knowledge. 

How shall this throng of vouth, the world's promise, be suitably housed 
and fed, and, above all, be so protected and guided that thev mav success- 
fully resist the varied and subtle temptations inevitably to be met, and gain 
the fullest and noblest development possible ? Philanthropists and religious 
workers recognize that "the normal occupation during adolescence is 
consciously or sub-consciouslv to make life choices," and so estimate the 
importance of careful guidance and wise environment at this period, when 
the heart is impressible like wax, but retentive like bronze. 

To an institution like ours this problem appeals stronglv because of its 
immense student bodv, made up of voung men and voung women from all 
parts of our own land as well as from other lands. To its solution the 
President and Conser\ator\' authorities have brought much thought and 


THE \ E L M E 


First of all, dormitories have been provided where a large proportion 
of the young women students find safe and pleasant homes under the care 
of women whose wisdom and experience eminentlv fit them for this posi- 
tion of guardians and preceptresses. 

A Board of \'isitors. among whom are manv women of wide acquaint- 
ance with social and economic questions, are interesting themselves in the 
dormiton- life, and coming into helpful personal contact with the individual 

A committee from this same Board 
holds special relation to the student 
life outside the dormitories. Working 
with them, reporting to them, looking 
to them for assistance in meeting the 
varied needs which she discovers — social, 
financial and otherwise — is a Precep- 
tress whose entire time is given to this 
department. She advises with the stu- 
dents officially, visits them in their rooms, 
keeping in touch with their home life, 
and thus continuing and strengthening 
the friendlv relations begun bv instructors 
and officers of the institution. 

Broad as are the existing plans, new 
ones are continually being evolved out 
of the great demands and perplexities 

of this student problem of the cities, Sarah an n:e Perkins. Prcr^/^/r^^.c 

which our institution shares in common with all others having at heart 
the greatest good and highest development of vouth. 

Sarah Annie Perkins. 




Conductors and — Conductors 


HE narrow frame of a hastily improvised article will hardly allow a world's 
exhibition of material, interesting, rich, and profound enough to promise the 
desired elucidation on the subject in question. Still, having spent fully two decades 
of my life in playing with and belonging to the three great orchestras of Vienna, 
Leipsic and Boston. I have come in contact with so many conductors of and also without) 
name and fame that it may not necessarily appear arrogant, if I take the liberty,- to appeal to 
the patience of my readers by submitting to them the following remarks. 

Before all. it should be realized that the art of conducting is a ver\- peculiar one. It 
cannot be studied and practiced like physical culture, nor like singing, nor plaving the 
violin, by means of scales, arpeggios and etudes. It is not enough that one is blessed with 
powerful arms; nor does it follow that one who can compose operas and s\-mphonies must be 
a fine conductor. This, of course, does not mean that a man must be a poor conductor 
because he is a good composer; even.- poodle is a dog, but not ever>- dog is a poodle. Study 
and experience will improve, but they will not always make a conductor. When Leon 
Delibes for the first time conducted his lovely ballet ** Coppelia" in a most fascinating 
manner, the remarkable statement was given out that he never before had held a baton in 
his hand! It would then not be so ver\- ridiculous if a musician, asked whether he knows 
how to condua, should answer : "I don't know, I haven't tried it yet." 

There are many kinds of conductors: those who are bom to be conductors and those 
who are bom not to be conductors; there are ner\-ous and fussy as well, as calm and phleg- 
matic conductors; those who have the score in their heads and those who have their heads 
in the score; then again, those who are insatiable in regard to drilling, tormented by a 
demonic, agonizing fear something might happen "; and those blessed by an immovable 
confidence in their star of good luck, owing to which they will make rehearsals unexpectedly 
short, and create on the players" faces that smile that won't come off.'" Conspicuous by 
contrast are the two extremes, namely, the ultra-conser\ative and the ultra-modem con- 
ductor; the former still fanatically adhering to the infallibilit}- of tradition and convention- 
alism, the latter discovering ever\' day new mistakes in old scores. Finally, we can easily 
discriminate the features of patience, politeness and delicac\- in some, and on the other 
hand intolerance, impetuosit\'. and "divine" mdeness in others. 

Theoretically speaking, Wagner was the greatest of all conductors (unless it was 
Berlioz), but not practically, for he \try easily forgot himself — either hypnotized by the 
beautv- or angered by the intolerableness of the music he happened to conduct- We have 
been present at a rehearsal in Vienna when he interrupted the playing of the orchestra in 
the midst of a passage with the words: "Oh, children, let us stop a moment; it is too 
beautiful — overwhelming — intoxicatingi '' And in the real performance it happened to 
him that he, three times in succession, gave the sign to the bass tmmpet for a motive which 
was to come much later. He finally stamped with his foot and tried to suggest the motive 
to the player by gestures and rhythmical motions of his lips, until he was most humbly 




reminded of thf -mistake by one of the musicians. " Why, of course," said he, laughingly, 
and everyjthing was all right. Nevertheless, we all know that we owe the modern con- 
ductor to him and to his evangelism laid down in his essay, " Ueber das Dirigiren," and 
in other chapters of his epoch-making writings. 

Liszt, the venerated master, was also as a conductor much talked about and commented 
upon. Radical, indeed, must have been the innovations introduced by him into the art 
of conducting, when we consider the controversies between his followers and their antago- 
nists. We have read articles praising Liszt as the real messiah, and others calling him 
down as a grotesque, eccentric charlatan. In his later years his attitude as a conductor 
appeared to us of the younger generation absolutely not extravagantly or aggressively 
modern. But possibly growing age and the experience of a long and eventful life may have 
caused changes within him, contrasting with the symptomatic features of an earlier and 
more fermenting period. 

I shall never forget a performance of his " Missa Sollemnis " (" Graner Festmesse "), 
in which I, then a pupil of the Vienna Conservatory, had the honor to play under the 
master's own direction. In fact, we did not have one. but three conductors at the same 
time. Officially, it was Mr. Eduard Kremser, the conductor of the concerts of the " Society 
of Music Lovers," who was announced as leader, while Liszt himself, standing like the 
Holy Ghost on an Eiffel-tower-high platform in front of Mr. Kremser, appeared to play 
the role of nothing more or less than a metronome. He mostly confined himself to giving^ 
the first few beats of every new tempo, while Mr. Kremser, catching the master's intention 
from a mirror fastened to one of the organ pipes, communicated to the mass of singers and 
players the inspiration reflected to him by the mirror. But it happened that the Abbe 
now and then forgot to give the cue (some were mean enough to claim that he fell asleep 
incidentally), or he all of a sudden started to swing his baton in a manner positively con- 
flicting with the time beating of Mr. Kremser, which every time produced such a medley 
among the performers that Mr. Josef Hellmesberger senior, director of the Conservatory and 
first concert master, could not resist proving himself a real deus ex machina by using his 
fiddle stick in an extraordinarily energetic way of swaying, in that way smoothing and 
calming down the swollen waves of that gigantic ocean of chaotic sounds. It seems a 
mystery how we ever got through! 

The last general rehearsal of that memorable concert was not either without a thrilling 
sensation, as the score of the " Missa," in regard to proportions in both size and weight 
the largest volume ever printed, fell from the composer's lofty music stand and nearly killed 
an elderly gentleman of the audience who had just approached the master in order to offer 
to him the expression of his unbounded enthusiasm. 

This reminds me of another incident, in which Mr. Saint-Saens, the graceful and 
admired French composer, conductor, pianist, organist, essayist, librettist, scientist, pro- 
fessor and astronomer, came very near the danger of losing his life. We were studying 
"Phaeton," the symphonic poem. The composer was just trying hard to explain to the 
first oboe player the meaning and character of some important passage, but failed, owing to 
the absence of an interpreter. At last, Saint-Saens, highly excited, and following a sudden 
impulse, as it seems, came to the conclusion to approach the oboist, probably thinking he 
could make things clearer when standing close to the man. But he completely lost sight of 
the tremendously high level of his elevated platform, and the very first step made him fall 
down so unfortunately that his head would unfailingly have been crushed on the heavy 
music rack in front of him had it not been for the presence of mind of Mr. Reinhold Hummer, 
the first 'cello of the Vienna Orchestra, who caught the little man with an iron grip, and sck 




saved him from an untimely, terrible death, and the world from a great and irreparable 
loss. By the way, it was the accident of falling from a window which deprived poor Saint- 
Saens of his only child. 

One of the most important qualities of a skilful conductor is to be quick in cases of 
emergency. Many characteristic facts, more or less true, will hand down to posterity the 
accounts illustrating the wonderful gift of men like Hans von Bulow and similar giants to 
meet any mishap on the platform with superior calmness and triumphant certainty of 
victory. But we shall see that " there are others," who, although belonging to the species 
of the dii minorum gentium, have, too, accomplished heroic deeds which at least deserve the 
epithet of clever originality. 

The " Rosenthal," Leipsic's vast and wonderful park grounds, contains a quite inter- 
esting zoo connected with a restaurant in which are given very enjoyable and highly popular 
open air concerts by the band of the 107th Infantry Regiment, one of the best military 
bands (or rather orchestras) in existence. One evening the " Magic Flute " overture was 
on the program. It was a glorious, majestic night, intoxicating and inspiring by its 
fragrance, its starlights, its silence — yes, its silence! It was as if nobody would dare to 
speak among those imposing, venerable old trees. The intermission was over, and now a 
general raving, an anticipation of Mozart's divine revelation. The overture begins- Those 
sacred three chords — indeed a revelation! And what a mysterious charm in that interval 
of silence following ! 

But, listen, what is this? Don't you hear? An outburst of some unearthly voice 
coming from another world, but filling air and ear with ringing, threatening, penetrating 
sound! By Jove! what may it be? Well, well, well, I declare! why, sure enough, it is the 
big lion of the zoo, residing near by, who most probably was disturbed in his sleep by the 
opening chords of the "Magic Flute," and who did not hesitate to express his royal 
indignation in that thoroughly dignified manner. The conductor, Mr. G. Walther, was 
holding his baton in the air all that time, waiting patiently and with artistic conviction 
until his majesty had finished his solo (for roaring ad libitum), after which he, as a matter 
of course and most naturally, continued and brought to its end the overture. Bravo, Mr. 

As a contribution to the character of the spirit and discipline reigning in all parts of the 
German army, I beg the permission to report a little episode which I personally experienced 
with the same band mentioned above. Rehearsing for a students' festival, I had to study a 
quick-step of my own fabric, dedicated to the " Arion," one of the two leading students' 
choral societies. Toward the end of the piece there was to be played an important both 
in the second oboe and in the second trumpet, but none of them were heard. I had already 
stopped several times and begged for that D?, but in vain. At last I asked the wind 
players alone to play the chord. " And exactly the same way; it must sound one octave 
lower in the brass," I said, " so let me hear it, please." But there was no D? in the brass. 
" For gracious sake," I hollered, enraged, "why don't you play that D? in the second 
trumpet?" No answer. Who plays the second trumpet?" No answer. Helpless and 
near desperation, I am looking around, and — perchance — catching the eye of one of the 
soldiers, I emphatically address him, "My dear friend, will you please tell me where 
the second trumpet player is? " Standing upon his feet, quick as lightning and with the 
correct attitude of an orderly facing his superior, he reports, " Very well, sir, he is absent." 
" But for anything in the world, why didn't you tell me that before? " " Well, sir, you 
didn't ask me before!" Tableau! I believe they would have let me rehearse that chord 
4ip to this day before daring to open their mouths without being asked. What discipline! 




Very often I have been confronted with the question, Who is the greatest conductor? 
This question seems to me unanswerable, at least more difficult to answer than many other 
hard questions, e. g., How is your liver? I should say, great is the conductor who is able 
to make — with ease and comfort — the orchestra do exactly what he wants, supposing he 
himself wants the right kind of things; but this is another great question. Mr. A may be 
fond of champagne; Mr. B of lemonade; Mr. C of cod liver oil; Mr. D is perhaps burning 
and dying to witness an eruption of Vesuvius, standing close to the crater; while, as I am 
pretty sure, Mr. E gives preference to the poetry of a moonshine scene in Venice, for which 
I do not blame him a bit; and Mr, F's inclinations would tend toward a totally different 
direction, say for instance, to witness the picturesque ceremonies of a colored Baptist 
wedding in Virginia. 

We know of many features of greatness, but also of as many forms of imperfection in a 
conductor; for what mortal being could be perfect? 

Johann Holbeck (1831-77) was as great a conductor as I personally can imagine a man 
could possibly be, and what may have been lacking in him I really do not see. His was an 
absolute command in regard to technic, ideal ease, gracefulness, dignity, manly power, fire, 
swing, temperament, magnetism — all and everything which we admire in a conductor — last 
but not least, a most appealing appearance. However, there was unfortunately one great 
shortcoming about him; he was mortal and had to die! 

Hans von Biilow, too, may be called very great; but he was too academical, too 
logical, too much reflecting, too cruel in pathological dissection always and every time, even 
if it broke one's heart. Otto Dessoff (1835-92) was very much the same. 

Now, what do I care for the greatest greatness if the results are not positively gratifying? 
Often I might prefer an artist, even should the muses of Apollo not have kissed him on the 
forehead, but — say — on the shoulder only. Look, for instance, at Bilse in Berlin. Hardly 
anyone has ever considered him to be a genius, a great conductor, or even an extraordinary 
musician; but he was an ideal master of drilling, and how much he has accomplished was 
gratefully acknowledged by all. That speaks volumes. There are real great ones who 
may not accomplish anything in the realm of conducting, 'vide, e. g., Anton Bruckner, the 
Wagner of the Symphony, a most dreamy, helpless, and, alas! caricature-cut quantity on 
the platform. The same thing can be said of Brahms, who, great as he may be, was 
awfully clumsy and the opposite of magnetic when wielding his club, 'vulgo baton; and not 
less of Rubinstein, like Liszt, a man with a golden heart, a musical Titan, who deserved 
to be worshiped on our knees as long as he played the piano, but who became well nigh 
indigestible, as soon as he started to conduct, particularly in rehearsals, owing to his ugliness, 
violence, rudeness, and lack of true ability for conducting. 

Richter, Thomas and Seidl have always been called great, and it certainly is not my 
intention to attack such men. But it does not seem unfair to me, in matters of art, to make 
our investigations and statements as exact and to seek the pole of truth as regardlessly of 
tradition and fashion, as may be. 

Hans Richter was and is undoubtedly an extraordinary musician; and in a certain 
sense he may be a very remarkable conductor, but I had always the impression that he was 
more eclectic than spontaneous or impulsive, more intellectual than emotional, and this, I 
confess, represents to me one of the strongest imperfections in sl great conductor. 

As to Theodore Thomas, I was not fortunate enough to see him often in activity. 
But so much I found out at once, that he had a most wonderful control over his men, which 
means very, very much indeed. His appearance, too, was extremely noble, dignified and 
imposing; but his nearly motionless, marble-like attitude during the performance caused a 




ven- strange and, honestly, chilling influence upon me as a listener and looker-on, and, I 
am afraid, also upon the players- By any means, however, Thomas was a great musician, 
to whom we all are highly indebted for the incalculably great impetus he gave to the 
development of the musical art in America. 

With Anton Seidl I was ver^- well acquainted since about 1880, and I can say that I 
had every desirable chance to study his aims, his ambitions, and his qualities, both as a man 
and as an artist. He was a ver\- kindhearted fellow, but could be terribly harsh at times. 
Exactly the same he was as a musician- It was an open secret among the musicians abroad 
that, although he was a thorough musician, an excellent *' routinier," he was not a musician 
who would seem to care particularly for finely graded nuances, and in fact the orchestra 
under his baton was hardly often given a chance to excel in nuances of a delicate sort of 
shading; such glorious things as piano, diminuendo, pianissimo, etc., it seems were simply 
not existing in his musical vocabularj'. 

But Wagner's personal interest and protection was mightj' and weight}- enough to 
furnish an equivalent more than enough to make such shortcomings perfectly unobjection- 
able- As the old saying goes, " fFer den Pabst zum Fetter hat kann Cardinal leicht 
-txerden.'' (Free translation : "With the Pope for a cousin. Cardinal's job is easy.") 

Still, it must be said that Seidl has accomplished a great deal of good and useful work, 
especially in the line of popularizing Wagner's music dramas in many quarters here and 

Great, or at least celebrated were also a few other conductors. But most of them, 
although excellent masters, would not be successful noxf, owing to their most conservative 
views, particularly in regard to tempo and rhjthm. Our present generation does not believe 
any more in the metronome, but in the rubato- Besides, all those men are either dead or 
retired, and, I fear, will not appeal to my readers any more, than did the fate of Hecuba 
appeal to the actor in the second act of Hamlet. 

Fortunately, we have most illustrious names in the list of contemporaneous conductors; 
think only (in alphabetical order, if you please) of the following ones: Mahler, Mottl, 
Nikisch, Paur, Strauss, and Weingartner! I am sure your flrst question will be : Whom 
do you consider the greatest ? As for that, I must say — unfortunately {"^^ — the friendly 
relation between each of them and myself is such that you will kindly excuse me if I refrain 
from the tempting pleasure of answering your question to-day. I deliberately postpone that 
answer until two weeks after my death, or else I might have to die at a date much earlier 
than oflicially expected. 

But speaking in general, not personally, we may say the greatest conductor is the one 
who is the right man in the right place. He must not be too Draconic for he will be 
hated: and not too lenient, for his authorit}- will not be believed in, nor will he be respected. 
Before all, he must kno-u: his business, namely his art, or he does not begin to be possible. 

After all, nobody in the world has a finer scent, a better instinct and judgment in 
regard to the value and standard of a conductor, than his own players- Therefore : 1/ in 
doubt, ask the orchestra. 




The Correlation of Music and Literature 

^^^^^^HAT music is intimately correlated with literature has been one 
M ^ J of the cardinal doctrines of the Conservaton' from the verv foun- 
dation. Dr. Toun'ee gave evidence of his belief in this tenet bv 
providing years ago an opportunity for Conser\ aton^ students to take literary 
studies in connection with their music ; and by making certain attainments 
requisite for graduation. From that time to the present, persistent efforts 
have been made bv his successors to impress on students the value of a lit- 
erary course as a preliminan- to the serious study of music. 

The present Director, Mr. Chadwick, has firmly held that the students 
who bring the most in the way of a literan^ education to the study of music 
not only gain the most from their work, but reduce, in a marked degree, 
the time necessary^ to cover given ground. He has, also, been untiring in 
his efforts to bring the colleges to reahze that music has its rightful place in 
an academic course. And an era of reciprocity seemed to have dawned 
when, last year, the Conser\'aton' conferred a diploma on a graduate of 
Smith College; and Smith, under new rules for admission, gave credit to a 
Conser\atory student for music as one of her entrance examinations. 

But doctrines, however strongly held, need to be re-enforced bv experi- 
ence before they can come to general acceptance. To the Senior Class has 
been given the happy privilege of such demonstration, for the Conservatory 
has never sent out a class whose literan^ assets have equaled those of the 
present Senior Class : nor has it sent out one that has had so many names 
on its roll of honor. That the highest record honor goes to a graduate of 
Mount Holvoke College is significant. These facts gain in weight when 
it is remembered that the demands made bv the Conser\aton" course are 
more strenuous and the difficulty of obtaining honors greater than at any 
other time in the histon^ of the institution. 

Nor only has the doctrine so long held by the Conser\-aton^ been vin- 
dicated : not only has an era of reciprocity between the Conserv atory and 
the colleges dawned ; but the time has come when the Conserv atory can 
point with increasing pride to graduates who, thus doubly equipped, can go 
out to take positions in colleges, where they themselves will be illustrations 
of the worth and worthiness of a musical education. 

Hail, Class of 1905 I Elizabeth I. Samuel. 





Faculty Reminiscences 

The Class of Nineteen Five, 
Oh, may it always thrive, 
And keep itself alive 
Till Nineteen Eighty-five, — 

Is the wish of the Class Inspector, 

Jas. C. D. Parker. 

HMONG the musicians I have met I recall one, of noble birth, 
who might have been well known as a composer but for his high 
position, which forbade a musician's career. I was in Anger- 
mann's, the old Bohemian hostelry in Bayreuth, just after the first perform- 
ance of "The Mastersingers " at the Wagner Opera House. Angermann's 
could hold fifty people comfortably. That night it held fifteen hundred — 
uncomfortably. All the chairs had long been pre-empted. Mr. Gericke, 
Mr. Kneisel and I managed to get a plank, which we set up on two kegs, 
making an improvised but somewhat splintery seat. Lassen managed to 
secure a few inches of the seat — not the splinters. 

A well dressed and very near-sighted gentleman came in to this republic 
of music too late for anything but "standing room." I managed to squeeze 
out a few inches of my end of the plank, and offered him the hospitalities 
of the occasion. I found the newcomer a most intelligent Wagnerian, a 
man who knew every line and every measure of the great master's work by 
heart. We chatted gaily on the festival, the artists, Cosima Wagner, and 
what not. Finally he asked me, "With whom have I the honor of 
speaking?" I gave him my card, and he sought in vain for one of his 
own, evidently having come without his card-case. Flushing slightly he 
apologized, saying, "I am Prince Alexander of Hesse." I thought that 
this was poor jesting, and longed to state that I was the Duke of Dedham, 
but refrained. Perhaps it was as well that I did so, for the next night I 
met him at Madame Wagner's reception at Villa Wahnfried, when he gave 
me the missing card, and resumed the Wagnerian conversation. I have 
met many great professionals, but never so cultivated an amateur in music, 
particularly in the newer school of the art, as Prince Alexander von Hesse. 

Louis C. Elson. 




AMONG the many pleasant experiences while visiting the musical studios 
of some of the great European voice masters, Mr. W. H. Dunham 
mentions delightful hours passed with Sig. Antonio Cotogni in Rome. This 
most remarkable baritone of his day lives in an old palace, and has evidently 
been one of the artists sagacious enough to arrange a luxurious home for 
his declining years. He sang in all the large cities of Europe, and said the 
only quarrel after twenty years with Patti was when he refused to go with 
her company to the States, so we do not know him here. 

A slight, elderly man, quite the usual Italian type, vivacious, enthusias- 
tic, still called one of the best masters for operatic preparation. He takes 
now no women as pupils, saying, "When I scold and shake them they 
weep ! " but grants an occasional criticism on a woman's voice. At this 
point he differs from the famous Florentine master, Vannuccini, who has 
so many names of famous women singers among his pupils ; and in whose 
genial presence Mr. Dunham passed several months listening to the work of 
many of his scholars. 

In the main studio hangs Signor Cotogni's most cherished possession, 
a large laurel wreath wrought in solid silver, each leaf bearing the title of 
one of his roles and the donor's name. This was given at his last appear- 
ance at Petersburg. At one side of the wreath hangs a portrait of Jean 
de Reszke (whom Mr. Dunham soon knew so agreeably in Paris), and on 
the other side a photograph of Mme. Sembrich, and many more famous 
pupils of this great teacher, who was also a lifelong friend and comrade of 
our dear Signor Rotoli. 

The Maestro spoke rapidly in French, as Italian was not then so 
familiar to his guest, but his enthusiasm over the tenor songs made the 
translating a pleasant task. One morning the strangers were escorted by 
Signor Cotogni to the Santa Ceciha Conservatory. The hall is attractive, 
but the class rooms seem small and inadequate. The library is remarkable, 
and contains many rare manuscripts and original editions from presses all 
over the musical world. The genial man is himself quite up to date, and 
interested in all that is new, delighting, like all his race, in melody ; and 
expresses himself greatly pleased with a packet of songs by American writ- 
ers, sent over to him as souvenirs of and appreciation for many happy hours 
in many pleasant weeks. 




IN " Villa Wahnfried." the house of Richard Wagner a: Bavreuth. even- 
Thursday evening in Julv and August of 1876. the performers of the 
Niebelungen ring used to meet their friends who bv special recommenda- 
tion were cordiallv invited bv Frau Cosima. At one of these reception 
niehts August Wilhelmi had promised to plav a quartet with some mem- 
bers of the Niebelungen orchestra. Em:: Mahr -.:rj'.:n , B. Thomas (viola) 
and Leopold Grtiizmacher ('cello J. Richard Wagner was in the best 
mood, chatting with everi'body ; nothing seemed to vex him. Wilhelmi 
and his associates plaved the A minor quartet, op. 132. Beethoven, of 
which Warner remarked that it was his favorite, bur that he liked the 
scherzo exchanged with the one of Beethoven's E minor quartet, op. 59. 
Even-thing went all right, but shortlv before the tempo di marcia in the 
last movement. Wagner said. " Now wait a moment, gentlemen."" He 
went out and returned with an ordinan- Bavarian sabre, which he had 
girded about himself. He drew the sword, and taking a pose like a statue 
of a victorious field marshal he exclaimed. ''Now plav. gentlemen I the 
tempo d: marcia." It was not verv often the case in Wagner's life that 
the great master felt disposed to such a kind of buftoonen\ 

Emil Mahr. 

I RECALL an incident of mv intimacv with Mr. Henrv K. Hadlev. 
which occurred a few summers ago when four of us occupied a cot- 
tage on the shore of Saranac Lake in the Adirondacks. Mr. Hadlev was 
working hard at the third movement of his svmphonv, "The Four Seasons.'" 
He had secured his principal theme, and had partiallv elaborated it. but was 
at a loss for a second theme, which he desired to be an Indian melodv of 
contrasting character. We svmpathized deeplv with him in his predic- 
ament, and even contributed some composite efforts of our own, which, 
strangelv enough, he sarcasticallv referred to as triple distillation of 

One frostv night as I was returning to the cottage I heard in the 
distance a faint sound of weird melodv, and as I entered I perceived Mr. 
Hadlev at the piano garbed in an Indian blanket, and smoking his Indian 
pipe (presumablv to secure local color). Shivering with cold he turned to 
me and related with enthusiasm how after an evening of harassing labor he 
had given it up almost in despair, and had gone to bed ; but as he slept he 






-f-: r: ~r .v^s 5: wzis.. ir^i ccme upon :~f e- ~g he 

: : - ? It awoke him suddenhr : : . im- 

pressed bj what he :r : he weot to the piano and worked out the 

~ 7 - -J melodj I ~ 

7 here was no . : r excrr: the ^immer of his pipe, and 

: : reded to awaken the other two, so just as dawn was outUning the 
:3ps across the lake a ghostty party assembled to admire and 
:hrld of his imagination. Naturall^f a work favored hf such 
.i. >r : ^ : jal influences could not belt* ^llt succeed, and in fact this 
srmphonir secured the first prize in th e ? 7 7 d competidoo . 

A_?3vir Di VoTO. 

«NOTHlNG in my - , -o others 

comes to my mind .1: :~ - : ::.7 ^: : 7 7 : 1 : > : note that 

which happened to someone else. 

During the Wagner Festiv?. T 7 ^ j 7 ^ : . 

together with several other stu. 7 :^ T _ r 

the concert came, and Thomai ;.v::.r : 7^ '. - - 

rapped on the desk for attention, and waited. Over among : 7 
member (whose personal appearance was much like the men : -tr 

wagons) was wandering around to find a seat. Thomas waite : 
said, '^Sit down.'' The man kept on looking for a seat, 2." .. 77:7 > 
attention was centered upon him. Thomas said again, much louder, '^Sit 
dsfwn!^ and the reply came back in tone? :: re ~.t?'A throughout the haU, 
''Hain't got nothin/ ter set on." 

A pupil of diae. 'A ~7e :e.icr.:ag in the ^ ... ^ . e 2 pupils' recital. 
One whose musical taste led her to prac: ce :.ike walks and tfee . .-.r 
evenr spare moment was to appear on the prc^ram. At the last 7~ 7 : t- 
to the teacher in terror and said that she was so afraid that she -.vz-j^^ 
forget her polonaise. Never mind," her teacher consoled her, '^if you do» 
play ^ Whistling Rufus.' ^ Her turn came, and all went well for a while, 
when^ to their astonishment, the pupil actually was playing that popular 
air. A Kttle later she thought of her polonaise and finished with tfee !a.?t 
part of it. F. Addisox Po^ti:^ 

-.NNUCCINI, with all the other qualities and attributes o: ?. z:txi 
^ :e ;.e, has a good sense of humor, which is continually cropping out 
(during his lessons. I have an instance in mind when on one occasion I 




was present at the lesson of a fellow pupil who ordinarily sang unusually 
well, but who on this particular day was very much out of voice. 

He was singing the part of Marcello in "Les Huguenots/' and man- 
aged to get along after a fashion until he came to the phrase, "e I'ultima 
ora" (it is the last hour), which ends on a low note, and which, tn' as he 
might, he could not reach. After several ineffectual efforts, which only 
resulted in a queer wheezv sound, the old master who had been fixedlv 
watching him over the rim of his glasses, turned to the piano with a gesture 
of resignation, saving, ''Mv son, one can plainlv see that this is not the last 
hour; let us proceed with the lesson." Armaxd Fortin. 

IN 1878, Hans von Biilow came to Leipzig to give a concert in aid of 
the Wagner \ erein, of which he was a powerful patron and supporter. 
His program consisted of the last five sonatas of Beethoven, which he played 
with tremendous power and convincing effect. At the end of the concert 
he received a most enthusiastic ovation, to which he responded with great 
good humor, and finally made a short speech, explaining that he had to 
take a train for Berlin that evening and begged the audience to excuse him. 
The Conservaton^ bovs and girls then crowded about the door of his 
dressing-room, which was just across the corridor from the hall. Then 
appeared old Professor Wenzel, the senior pianoforte teacher of the Con- 
servatory, and erstwhile lover of Clara Wieck, who mamed Robert Schu- 
mann. He thumped vigorously on the door of the dressing-room and 
shouted, "Hans, Hans, open the door — it is the old Wenzel! Presently 
the door was flung wide open, disclosing the distinguished doctor minus 
Ijis collar, coat, waistcoat and some other garments, while various toilet 
articles were scattered about the room. The ladies were somewhat con- 
fused, but Wenzel rushed into the room and embraced Biilow, and after 
a while a considerate janitor slammed the door. And so I think I saw 
more of Hans von Biilow than has fallen to the lot of most students. 

George Whitefield Chadwick. 

HERR vox BULOW was here on his first visit to America, and the 
occasion was a "Peck Benefit." Mr. Peck was the manager of Music 
Hall, and each year a benefit was tendered him by his friends, than which 
no musical event was more popular with the general public. One incident 
of this concert which I have never seen in print is worth relating. The 
attractions on the program were the Theodore Thomas Orchestra, Herr 




von Billow, a soprano and an alto singer, both of them deser\'edlv famous 
throughout the United States. The soprano won an encore with her first 
number on the program and responded to it. Evidentlv the encore selection 
had not been rehearsed, for as she neared the end of it she partly turned 
and laid her hand on the shoulder of the accompanist as a signal to him to 
wait while she threw into the piece some "skyrockets" in the wav of a 
cadenza. Then the concert proceeded in the usual wav until the second 
number for the soprano was due, when there was a delay of some minutes. 
Finallv Mr. Thomas came upon the platform and went among his first violin 
players and selected a verv voung man, scarcelv more than a bov, with a 
wealth of jet black hair. The two of them retired to the green room, and 
soon the soprano appeared and sang her song with the aforesaid voung man 
as accompanist. It was easv to surmise that the accompanist had been 
offended at the action of the soprano, and had refused to plav for her in the 
second number. 

Years after I was able to prove the truth of mv surmises by both the 
regular accompanist and the voung man with the black hair. The former 
has been for years the director of one of the most popular opera companies ; 
the latter is now one of the most successful orchestra and chorus conductors 
in this countr}^ I leave the reader to guess their names. 

Samuel \V. Cole. 

I HAD the good fortune to know Prof. Theodore Leschetizkv ven^ 
intimately, and as I have been asked to relate some incident connected 
with him, I tell the following: Leschetizkv when a voung man was once 
asked to teach the daughter of a rich merchant. The father, being wholly 
commercial in tastes and no judge of music, required that the master should 
play something. Leschetizkv plaved him the etude of Chopin on the black 
keys, and the merchant, on the alert for anything which might be called 
■'shady," remarked that the teacher onlv used the black keys, and wished 
to know if he could not make a reduction in the price of the lessons if his 
daughter were not to be taught to use white ones. Leschetizkv said he 
•could make no difference as he had onlv one price, and offered to plav him 
something else, which he did, etude No. 1, opus 10, which is princi- 
pally on the white kevs. The father seemed nonplussed for a few sec- 
onds, doubtless trying to discover if there were not some swindle connected 
with it. He finally gave it up and with a sigh said to Leschetizky, "Well, 




I know nothing about your business, but I'll take the risk ; go ahead and 
teach my daughter to play all the ways and I will pay the full price." 

George Proctor. 

WHEN Giuseppe Campanari made his first visit to America over twenty 
years ago for the purpose of filling the position of 'cellist in his brother's 
string quartet, it was my good fortune and pleasure to be present with his 
brother Leandro, at that time my instructor, upon his arrival. Two weeks 
later I saw him again at his first appearance in this country, at Melrose, 

The Campanari quartette played before a crowded audience that 
evening. The people were reluctantly leaving the hall, which was scarcely 
half emptied, when suddenly everyone turned at the sound of a powerful 
rich voice. 

I had noticed Giuseppe standing at one side of the stage with his 
overcoat unbuttoned, his hands thrust into his pockets, and his hat set 
carelessly on the back of his head. He had been looking eagerly toward 
the piano, and glancing impatiently at the swaying crowd moving gradually 
out from the hall. Unable to wait until all had gone he had walked quickly 
to the piano, and without even removing his hat began to sing some operatic 
selections. Everyone gazed in astonishment at Giuseppe Campanari the 
'cellist, as they knew him. So spirited was the singer that it took some 
minutes of earnest protestation, almost pleading, on the part of his brother 
to convince him that they must leave for home. But then the last train 
had gone, and our party was obliged to return by carriage in the midst of a 
severe storm. 

The large number who lingered that night were most gratefully sur- 
prised to have heard the first notes in America of the famous baritone, 
Giuseppe Campanari. 

Carl Peirce. 

IN the life of every musician there is sure to be some experience which 
is written indelibly on his memory. Such was my first interview with 
Liszt, whose house I approached with a letter of introduction from Xaver 
Scharwenka. I sent up my card and in due course was ushered into the 
presence of the great master, who was busy writing at his desk. In a 
moment he arose, welcomed me with both hands extended, took my letter 




of introduction and dropped it into the waste basket, saving, as he pointed 
to the grand piano : " This is your introduction. Now let us hear you 


His first instructions were in regard to playing the melody, and after 
I had played my piece he told me that I was too much absorbed in it, that 
I must not play to the people who had paid three thalers and were seated 
in the first three rows, but to those who had paid a small price and were in 
the gallery. 

At the end of the lesson I was in a state of great embarrassment, as I 
had been warned not to mention money, when to mv great surprise Liszt 
himself opened the subject by saying that I could join his class and asking, 
*' How about the money?" I was thrown into confusion by this direct 
question, but was soon reassured when Liszt patted me on the back and 
remarked, Oh, you don't have to pay me for the lessons, but I cannot 
look out for the board ! " 

Edwin Klahre. 

WHILE studying counterpoint and fugue with the well known John 
Knowles Paine, one particularly clever member of the class brought in 
what he thought a unique production, but what appeared to the professor, 
at first sight, as worthless. It was a fugue with a subject nothing more 
than the popular street song, "Mulligen's Guards." Paine, apparently un- 
moved by such commonplace material, criticised the pupil for not bringing 
in more serious work, and proceeded to look for the counter subject. This 
he found to be another equally popular tune of the day, and he continued 
to pour forth his criticisms. In a moment it all occurred to him what the 
pupil had done; that the material had been well worked out, and a good 
fugue ingeniously made from material in itself practically worthless. 

Henry M. Dunham. 

THE fallibility, or the infallibility, as you will, of the human ear as to 
pitch has more than once been the subject of discussion. Many a 
wager has been won by him who has trusted to his accuracy of sense, and 
many a one lost. Many are the stories told, strange to say, stories as to 
a sense apparently more easy to exercise with precision. Mistakes happen 
here. That they happen, composers who pen one thing and hear another, 
know best. That a great authority may err is shown by the following : — 




Toward the close of his career, in the height of his fame, his senses 
undimmed, Meverbeer was called to a prominent court theatre in southern 
Germany to conduct the first night of his operas. In the general rehear- 
sal, in a number accompanied by an obligato clarinet, the Maestro paused. 
"What clarinet have you there?" "B flat, Meister." "Oblige me and 
take the A clarinet. I want the peculiar tone color of that instrument." 
The plaver bent over his rack, rattled his clarinets on the upright pegs on 
which they stood at his feet, and warmed and tuned an instrument ostenta- 
tiously. "Ready, Meister." "Ah, meine Herren ! There you have it! 
That's the tone of the A clarinet that I had in mind all the time." 

Actually, it was the same B flat clarinet on which Winternitz, past 
master of his art, had long played all solo parts, no matter what the trans- 
position — the clarinet whose tone even^one knew. The rehearsal went 
quietly on to its end, but the men in the orchestra had found something 
over which thev made merry, even twenty and more years later, when an 
old, old 'cello plaver told it with a queer kind of satisfaction to the writer 
of these lines. Benjamin Cutter. 

MR. CAMILLE THURWANGER was born in Paris, in the heart of 
the Latin Quarter, where he resided until he came to America, 
intending only to visit some relatives of his, and although he visits his old 
home every summer, invariably returns to Boston in the autumn. 

He belongs to a family of artists; his first name "Camille" was given 
him by his godfather, who was the great and celebrated French landscape 
painter, C. Corot. It was Mr. Thurwanger's good fortune to have spent 
the largest part of his life in the very atmosphere of Parisian art, and among 
the most famous artists. 

His parents' home in Paris was the rendezvous of great painters like 
Eugene Delacroix, who was the teacher of Mr. Thurwanger's mother, 
who, although well advanced in the eighties, is a most brilliant portrait 

Among other great painters who gathered in this home were Dau- 
bignv, Th. Rousseau, Diaz, Francois Millet. Among the sculptors were 
Carpeaux, Etex, and Maindson. Among the many musicians who joined 
in the gathering were Lebebure-Wely, and Gounod. 

MR. CARL STASNY, when requested to write some personal remi- 
niscences of the many famous artists and composers he has known 
eplied that he could not do so. On being urged, he laughingly remarked : 




''Well then, I will tell you of some of my friends. I should not dare to 
write in my English."' 

It was Joachim Rafif who persuaded mv father — himself a musician — 
to give me a musical education, and it was due to his advice that I was 
sent to Vienna, where I studied three years under the excellent composer 
and pianist, Ignaz Briill. It was here that I first met Brahms. He and 
Dr. Hanslick, the famous critic, were two of the jurors at the Conserva- 
torv competition, where I was aw^arded unanimousU' the first prize. Brahms 
said some verv encouraging things to me, and a few davs after I called on 
him to thank him for his kind interest. He received me verv cordiallv, and 
repeatedlv asked me to have a seat. I was much embarrassed, as every 
chair and sofa, even the piano and tables, were piled high with music. 
Finally he noticed mv predicament, and laughingly remarked that the floor 
seemed to be the onlv place left. 

It was the same vear that I met Rubinstein. He was to give a 
recital, and about fifteen minutes before he was to plav mv teacher took 
me into the green room to see him. As soon as he saw Briill enter he 
rushed toward him, exclaiming, "Plav me the last movement of the Appas- 
sionata Sonata ! " Briill, astonished, sat right dow^n and plaved it, and 
Rubinstein thanked him manv times for coming in as he did. For the 
moment he simplv could not remember a certain passage. 

In 1875, Briill, knowing that the price (ten gulden for the cheapest 
seats) was prohibitive for me, presented me with a ticket to a concert given 
bv Liszt in aid of an orphans' home. Of course I was deeplv impressed 
with his playing, and I marvel now at the assurance with which I planned 
to speak with the great virtuoso and ask his advice in regard to my own 
playing. I might have had letters of introduction, but armed only with the 
Hungarian Fantasie I went boldlv to the house where I knew he was 
staying and sent in mv card. His valet showed me into a large parlor, and 
I must admit mv nerve was shaken when I found mvself all alone. How- 
ever, a few minutes later when Liszt entered he spoke to me in such a 
friendly manner I recovered mv courage, and told him that I was to play 
his fantasie in a few weeks, and begged for his advice. He gave me a 
long lesson on it — my first experience of the unfailing kindness and gen- 
erosity which I received from him in later vears, and w^hich I look back 
upon as the most valuable and most beautiful experience of my hfe. 




Saint Saens and I once visited the great Cathedral in Mainz together. 
After we had been there some time Saint Saens expressed a desire to plav on 
the great organ. The sexton said it was impossible, as absolutely no one 
was ever allowed to plav on it except the regular organist. Bv dint of 
much persuasion and a well aimed thaler, we arranged it with him, aereeina; 
to assume all responsibility for any injur}^ to the great instrument. Saint 
Saens improvised for more than half an hour, and when he finally left off, 
the sexton, realizing that he had '^entertained an angel unawares," brought 
me back my thaler, and seemed utterly unable to express his admiration and 

I met Wagner the first time when I was two years old, in Venice. 
Alv father, conductor of the Austrian Militan' Band (an orchestra of eighty 
men), played for the first time in Italy the Overture to Tannhauser in the 
public concert on the Plaza of St. Mark's. To his great surprise Wa2;ner 
rushed through the crowd and the orchestra to the conductor's stand and 
embraced him. This was the beginning of a friendship which Wagner 
showed in many ways for my father as long as he lived. In 1882 I went 
with my father by special invitation from Wagner to Bavreuth to the first 
performance of Parsifal. He treated my father with special consideration, 
and on being reminded that I was the baby that he used to give horseback 
rides on his knee, expressed his satisfaction that no such feat would be 
expected of him now. I think one of the most interesting hours I have 
ever spent was listening to them as they exchanged reminiscences of the 
old days in Venice. 

It was my good fortune to be present one memorable evening when 
Liszt played at sight with Rubinstein a fantasie for two pianofortes, which 
the latter had recently composed. Liszt, who was always interested in a 
new composition, had made an appointment with Rubinstein to try it over 
with him at the palace of Prince Hohenlohe. The pianos were arranged 
so the players were facing each other, and the guests were divided about 
evenly near the two performers. Bv the time they had finished everyone 
in the room was crowded right up by Liszt's piano, not only amazed at 
such a marvelous exhibition of sight reading, but electrified at the incom- 
parable artistry with which he had interpreted his part, while Rubinstein 
rushed about exclaiming to even'one, "Incredible, incredible!" 

In the latter part of the thirties, last century, Liszt went to Russia on 
a concert trip, and when he arrived in St. Petersburg Nicholas I. heard of 


THE > E U M E 


him and asked him to come and plav. Liszt went to the palace and found 
a large, aristocratic audience ; having been introduced to the Czar, he took, 
his place at the piano. 

The Czar with his adjutant sat near the stage when Liszt plaved and 
began conversation aloud. Liszt turned and looked at his majesty, but the 
Czar did not stop talking. Finallv Liszt stopped plaving : the Czar arose 
and expressed surprise, whereupon Liszt remarked, " Your majestv, it is onlv 
courtesv on mv part. When the Czar speaks ever\-thing has to be silent." 
The ruler left and the adjutant returned to command Liszt to leave the 
citv within twelve hours. Liszt could never be induced to go to Russia 
again, but later the Czar met him in Vienna and apologized to the artist. 

At a dinner partv Liszt, who was accompanied bv his favorite pupil, 
Carl Tausig, was asked to plav. Liszt, who never liked to plav under such 
circumstances, quietlv said to Tausig, "Carl. tr\- that piano forme."' Tau- 
sig, then in his prime, understanding what was required of him. acquiesced 
immediatelv, and in hve minutes the strings, if not the heart of the piano, 
were broken. It was a complete wreck, and Liszt expressed his regret that 
the piano was in no condition for further use. 

Billow was a man of ver\" uncertain temper : one never knew just what 
to expect from him. One dav when a guest at a dinner in Berlin, his host- 
ess smilinglv requested him to plav some little piece, as there were a few 
minutes left before dinner would be ser\-ed. Biilow consented with sus- 
picious readiness, went to the piano and plaved the entire sonata of Bee- 
thoven, op. 106. which lasted hftv minutes. Of course the ladv had not 
expected such a long "little piece." and much to her chagrin the dinner 
was completely ruined. 

It is told of him that on one occasion he met on the promenade at 
Baden-Baden a gentleman from the committee of the Svmphonv Concerts 
in Frankfort, who approaching him said, "Doctor, I bet vou don't remem- 
ber me." Biilow laconically answered, "You've won your bet," and walked 

Biilow. who was conducting a rehearsal of Rubinstein's symphonies 
at Hamburg, remarked. "Long hair, short ideas." On hearing of this, 
Rubinstein said, "I don't see why von Biilow should criticise my long hair; 
I never said anything about his long ears.'" 

Carl Stasxy. 



Braille Music 

HE system of dots now used bv many of the blind is named after 
its inventor, Braille. I have said, by many of the blind, to draw^ 
attention to the fact that Braille is not the only raised system, 
and therefore is not universal. 

It is thought by perhaps a large majority of people that Braille is 
extremely complicated and thus difficult to grasp ; but this is not true, 
however, for I know of several cases where people possessing their eyesight 
have learned in a few hours both to read and write with accuracy. One 
does not easily forget the system after once thoroughly learning it. 

For individual writing a tablet is used consisting of a metal ruler about 
fourteen inches long containing four lines of oblong cells, with about thirty 
on a line. Each cell has six notches, three on a side, numbering on the 
right 1, 2, 3, on the left 4, 5, 6 ; 1 and 4 are at the top. The ruler is 
movable so that when four lines have been completed it can be moved 
down ready for the next four lines and so on until the page is finished. 
Under the ruler is a metal bottom containing grooves running the full width 
of the tablet, with three under each line of cells. The paper is placed over 
this metal, and the dots are made with a stiletto through the cells of the 
ruler with the notches to guide the point. This system is read from left to 
right, and since the dots are pressed down into the paper, it can easily be 
seen that the writing would have to be done from right to left ; then the 
paper is turned for reading. 

A more substantial way of writing is by the stereotype machine, which 
has six of these stilettos, each controlled by a key. But instead of putting 
dots on paper directly, brass plates are used. The paper is then placed 
between the brass plate and a sheet of rubber ; then all are rolled through a 
wringer, leaving the dots on the paper. The dots stand indefinitely on the 
brass, so that as many copies as are desired can be had. 




In this system there is no staff, but each note has its sign made by 
different combinations of the dots. The whereabouts of a note is deter- 
mined by octave signs placed before the note ; that is to say, all the notes in 
the contra octave are in the first octave ; all the notes in the great octave are 
in the second octave, and so on to the eighth octave. The value of a note 
is determined by the position of an extra dot added to the regular sign for 
that note; for instance, C an eighth, is represented by dots 1, 4, and 5; 
C a quarter, has number 6 dot added, making 1, 4, 5, and 6 in the 
same cell. 

When a composition is written it is carefully divided into sections of 
perhaps twenty or thirty measures each. Then a section of the right hand 
is written, followed by the left hand part for that same section, and so on 
through the composition. 

In learning a composition the left hand reads the right hand part, and 
vice versa. Of course it can be committed away from the piano. 

Perkins Institution for the Blind and the Illinois Institution for the 
Blind are constantly at work on the musical library, and there is now con- 
siderable Braille music in circulation, both vocal and instrumental. 

The accompanying specimen of Braille music is Chopin Prelude, Op. 
28, No. 20. 

Frank Vigneron Weaver. 




Partial Notes of the Writer's Experiences 
in a German Opera House 

HRRIVED in town earlv in November ; was fortunate in obtaining 
introduction to theatre. Asked mv object in coming, replied, "to 
gain experience." Bv doing what ? Anything no one else wanted 
to do themselves. Found field of work in this respect unlimited. Did I 
know operatic music? Yes, all Wagner. "Waffenschmied ? No, never 
heard of it. "Ah, I thought so; just like all the rest. Never mind, vou'U 
soon learn." 

First duty, chorus rehearsal on "Trompeter von Sakkingen.'' Chorus 
knew work bv heart; I had never seen it. Chorus discovered fact in fifty 
seconds. Operatic chorus are less human than machinery in their singing, 
but more keen ; moreover, they are sympathetic. 

Spent two weeks learning that I must introduce myself to all my 
superiors ; could not get used to it. In final struggle presented myself 
three times to the same actor, who looked to me like all his companions. 
He invited me cheerfully to try again next day. 

First important duty, to conduct stage noise in "Joan of Arc" — mur- 
muring of the populace, ah ! ah ! etc. Also large militar\- band in distance 
(six men in the green room with the door shut). Next arranged march 
on stage in "Faust" for eight men, with allowance for the risk of absence 
of two. Utility is important in a theatre. 

Made incidental music for an Ibsen play, and incidental enemies of 
players thus called upon to desert their firesides, and otherwise free evening. 
Third flutist, however, become stanch friend when I gave his part to a 
clarinet. Stage manager gasped when I asked for contra bass tuba to play 
a low F = which never would have reached the footlights. Scene of play 
in Orient in an early centur\-. I wrote for ecclesiastical chorus and 
chromatic harp. Both misfits. Plav had eleven acts, and occupied two 
evenings. Eventually reduced to five and one ; audience made still further 
reduction to four. 




Now permitted to play organ on stage. Practiced an hour on church 
scene from "Faust," nearly exhausted blower boy; learned next day that 
church scene hadn't been given for years. 

Next responsibility to lie down behind a stage rock for three quarters of 
an hour to give important notes to " L'Africaine." Made great success, 
and realized beginning of my vocal career. Later sat on top of stepladder 
with forest bird, and conducted him — her rather. 

Joined in general search for pet stage 
cat ; learning that property man had invited 
friends the previous evening to a hare sup- 
per, further search was deemed futile. 

Scored Schubert's waltzes for orches- 
tra for anniversary of composer's birthday, 
thereby got opportunity to conduct them. 

Incidental music again. This time 
for "Die Versunkene Glocke." Chief 
worry to reproduce the "Glocke"; finally 
discarded real bells, and employed five men to strike tam-tams of various 
sizes under the stage, while the carpenter held down low D on the organ. 
Effect realized. 

Having been given up as an exponent of the aforesaid "Waffenschmied," 
was given task more to my liking — teaching Gotterdammerung to new 
singers, incidentally making a Briinhilde out of Erda. Was forbidden to 
play accompaniment as written; "nur kein Klavierspiel " was the order 
strictly enforced. 

Finally opportunity came to conduct ballet — a sort of Mother Goose 
with modern music. Played for twenty-four full stage rehearsals, thereby 
able to have the score in my head rather than my head in the score. At 
first performance curtain went down before I expected it — had no idea 
of sacrificing beautiful music accompanying apotheosis — and continued with 
great expression to end, despite concert meister's frantic efforts to hurry. 
He was a good friend, but I didn't know it then. Stage manager: "But 
my dear young friend, why drawl out your old music when the curtain is 
long since down ? People come to the theatre to hear music, not pauses 
and rests ; they're hungry ; let them go home." The ballet survived some 
nine performances ; after each one there was a special rehearsal to make 
new cuts, so that after number nine there was nothing left to play again. 




The above are but hints at the varied character of such work. To be 
serious, it is an invaluable education, particularly as teaching that nothing is 
too small to be of some value as experience ; that all work is worthv and 
dignified when done seriouslv. And not the least pleasant memor\' of the 
winter is the universal kindness of all those under whom and with whom I 
worked, and the generosity with which they provided the opportunity for 
experience so much desired, and thanks to them so fully received. 

Wallace Goodrich. 

When earth's last piano is broken 

And the strings are rusted and gone, 
And ever\^ fiddle has vanished, 

Forgotten each opera and song, 
We shall rest and so will the others 

Who have listened so long to our art. 
Till Gabriel with his trumpet 

Shall set us anew at a part. 
Then pianos will all be made wireless, 

Each violin alwavs in tune, 
And evervone's voice be like Melba's, 

And organ pipes reach to the moon. 
Then no one will speak of motifs, 

And no one will mention themes. 
And if vou will analvze Wagner, 

Each chord will be just what it seems. 
Then each of this wise class of Seniors 

In things either written or sung, 
Will show to the rest of creation 

How thev reallv ought to be done. 




Heard in Lesson Hour 

■^Will you p-l-e-a-s-e wait ?" 
"Sorry to keep you waiting." 

"I'm just a little late, can you come to morrow ? " 

"If you kindly please." 

" Ach ! Attitudes ! ! Attitudes ! ! ! " 

"This marking is an invention of my own." 

"You must use Faber's." 

"Got anything to-day Mr. ?" 

"That's the best I can do for you." 
"That's a fine rod." 
"Excuse you ! " 

"Well! I don't want to hear you play, only practice. Understand ?" 

"Those are peachy tones." 

"Hold your horses." 

"It's up to you." 

"As it were — so to speak." 

"Good luck to you, little girl." 

"You're a little late this morning." 

"How many have done three hours?" 

"I think that's right, but I'm not quite sure." 

"It would be too much for an unwashed chorus." 

"The organ is nothing if not rhythmical." 

An N. E. C. Bulletin Notice. 

"Imperative that every student shall attend this recital (the program 
given below), for the benefit derived, 'or in other words,' 'as it were,' to 
see what hand culture can achieve." 

New England Conservatory of Music 

By an Assistant of the Normal Pianoforte Department 

Henay — Song without words 

"As It were ' ' 
Henay — " I've Got a White Man Working for Me " 
Proctor — ' ' Teasing ' ' 
Dennee — " Good Old Summer Time " 
Jeffery — " Last Hope " 
Parker — " Snoring " 

Chadvvick — " Please Go 'Way and Let Me Sleep." 




New England Conservatory, 
Boston, Mass. 

Dear Mamma : 

I was glad to receive your letter 
last week. I am well and very 
happy in my work at the Conser- 
vatory. I like all my teachers and 
all my studies very much. 

I have told you about some of my 
studies in my other letters and so 
this one shall be devoted to my 
favorite study. Concert Deportment. 

I wonder if you know what Con- 
cert Deportment means. I thought 
I did before I began taking it, but 
I have found it so much nicer and 
more interesting than I ever dreamed 
it could be. 

Everyone has to take it for one year, but all the students like it so 
well that its time limit is not compulsory. 

I think that most of the Class of 1905 will come back next year for 
post-graduate work in it. I hope you will let me come. It will be money 
well invested, I can assure you, for all my future life I shall keep seeing the 
benefit I derived from the study of Concert Deportment. 

Now I will tell you a little about it. Its aim is to fit us to take our 
place on the concert stage or anywhere else with ease and grace. 

The first lesson we had to relax and let ourselves fall upon the floor. 
This is a fine exercise and very helpful to music students, for it makes strong 
wrists and graceful bodies. Then we learn the functions of the di^^erent 
parts of the body, such as the hand, arm, shoulder, back and limbs. Then 
we have to do exercises something like gymnastics, only much more diffi- 
cult and beautiful. 

We learn to make bows, too — bows for entering and leaving the 
stage and for all other occasions. And we learn how to handle the trains 
to our dresses if they get in our way. 




Then we do pantomimes, which are very interesting and helpful. In 
our last class some of the pantomimes were washing dishes, sweeping, tak- 
ing pictures, saddling a ponv, and lots of other good ones. These are to 
help us to be more graceful and easy in all our actions, and especially in 
playing or singing. 

Now good-by. Next time I'll tell you about two of my other stud- 
ies, Theory and Harmony. They are interesting, too, in a way, but not so 
nice or so valuable to us as Concert Deportment. 

With love, I am 

Your Daughter. 

P. S. I forgot to tell you that you must always walk in a line, for we 
learn in Concert Deportment that it is only common people who do not 
walk in a line. 

Boxing " 
Basket Ball 
Football . 

Why is Ralph Lyford like WiUiam Penn ? Because he refuses to take 
off his hat even to the king. 

Solfeggio Teacher (somewhat excited) — "What do you think 
the object of this course is, anyway ? " 
Bright Pupil — "Money." 

"Well, well, is this you? Were you to come to me at this time? 
Just be seated; I have to go down stairs for just one minute." Two 
hours later: "Well, did you get tired waiting? What time can you come 
to me; to-night at eight promptly? Good-by for the time." 

N. E. C. Athletics 

! ! ! ! ! 




The Prima Donna to the Tenor 

You are an awkward, boorish wretch, 

Of you I'm sick and tired ; 
Though by the female audience 

You're awfully admired. 

Could you but warble half the "airs" 

That you put on so finely, 
You might deserve the puffs you buy, 
And come to sing "divinely." 

I know the world in general 

Thinks that, with love, I'm sighing — 
Each night, through four melodious acts. 

For you with grief I'm dying. 

Torn from you by a bitter fate. 
Or by some Basso scowling. 

Before my canvas prison gate 
You out of tune are howling. 

But when you kiss my ruby lips, 
Please let it be a "dummy"; 

I wouldn't kiss you for the world. 
You dismal, wrinkled mummy. 

When in the third act we embrace. 

And I with pity soften, 
I think you might in decency 

Eat garlic much less often. 

In our duets, you sing too loud, 
You think you re the attraction. 

Please recollect I'm number one, 
You, but a vulgar fraction. 

You star it on your high chest C ; 

Bought criticisms inflate you. 
I'll hire a clique to hiss you yet ; 

You howling fiend — I hate you ! 

L. C. Elson. 

Inversion of the 




More Truth than Fiction 

The distinction between serious and comic in their extreme is very 
sHght, so we are told. I certainly found it so in my first public appearance. 
I was to sing at a funeral. For two whole days I was on the verge of 
nervous prostration. 

When the moment came I arose, shivering with fear. A profound 
hush filled the church, broken only by the sobs of the mourners. Suddenly 
there flashed into my mind the conversation with the deceased's daughter, 
who hired me for the occasion, and an overwhelming desire to laugh seized 
me. The young lady requested me to sing, "With Verdure Clad." Mis- 
taking my surprised expression, she hastened to add, "Well, I think we ought 
to have some music ; a funeral is so tame without music, don't you think ? " 

Struggling with the thought as to whether or not I was saving the 
service from tameness, I stumbled through my song, to be met at the close 
of the service by a good deacon of the church, who grasped my hand, and 
exclaimed: "You sang beautifully, but then I don't know anything about 
music. I can't tell the Doxology from America." 

Dictionary of Musical Terms 

(for infant minds) 

T)im. — Vague, hazy. 

Ann Dante. — A celebrated composer. Daughter of the poet. 

/. — Feeble. 

ff. — Frightfully feeble. 

M.D. — Go for a doctor. 

Leg. — Ballet music. 

p. — Powerful. 

m. s. — Mess, a musical composition by a very young composer. 
Ped. — Pedantic. In classical style. 
Rail. — Rallying. Music played at a political rally. 
Rit. — Ritualistic. High church music. 
Ten. — A ten strike. Very heavy, with all the ten fingers. 
Spiritoso. — Go out and "refresh." 
Bar. — The place indicated by spiritoso. 
Stacc. — A pile of compositions is called a stack. 
Fine. — The opinion the composer has of his own works. 
Grave. — The looks of the audience after hearing a dozen of them. 
Lento. — Music for Lent. Also reminds the musician that what is 
^Ment " is "o" 'ed. 

L. C. Elson. 





Dear friends, we give you greeting. 

And a word of right good cheer. 
For the time it is so fleeting 

That we meet with friends so dear. 

We will tell to you a story, 

Not in prose, but in a rhyme. 
'Tis not of fame and glory, 

But of seconds, thirds, and prime. 

The major scale is rent in twain, 
And the fragments strewn around, 

And we are driven most insane 
To think of all its sound. 

The first we sing is Ma, Me, Ta, 

And then go back on To ; 
We ring in Nel and Mel and Ga, 

Till heads they do ache so. 

Those seconds just elude our brain. 

The thirds are just as bad, 
The sixths we try but all in vain. 

And sevenths drive us mad. 

The name of all of this vou ask, 

And whv these looks of woe ? 
It is the hopeless, endless task. 

Of learning Solfeggio. 

Miss Keith and Miss Acker — Ladies of note. 
When in doubt ask Miss Perkins. 

Teacher (to pupil in counterpoint) — "You keep too near the home 

What view do most people get of W. G. ? BACH view. 




Theory Class 

Teacher — ''Now, let me see, how manv^ have we here — one, two, 
three, four, five, six, seven — well, the last bell has just rung, so we'll wait a 

little while longer." (Two minutes later Miss rushes in, hair flving and 

covered with confusion.) '^Oh ! here you are Miss . You must try 

to be a little more punctual, Miss , a little more punctual, for if you 

are not, I fear greatlv for the exam, I fear greatlv. You must be here 
on time." After taking ofiF his glasses and staring severelv for a few seconds, 
he resumes, "Now, before we begin, are there anv questions?" 

Pupil — 'T have some names I would like you to pronounce." 

Teacher — "Oh, yes, very good. I always like to have the students 
bring in questions." 

She hands him a list of names she has hunted up in a musical dic- 
tionary along with a few of her own selection, such as Von Tilzer and 
Ade. The teacher goes through them bravely, and retires from the field 
covered with glory and smiles. 

Teacher — "Now please draw up around the piano." 

Seven out of the eight present make a frantic attempt to get directly 
back of the teacher. A great deal of wild confusion results, but finally 
everyone is seated, most of the students having an excellent view of their 
neighbors' hats, but none whatever of the keyboard. 

Teacher — "I think you were to bring in some modern music to-day." 

Then follows a scholarly and exhaustive analysis of such modern 
masterpieces as ''Bedelia," ''Bill Bailey," "Coax Me," ''The Rill" and 
"The Defender." One student hands a piece to the teacher in a hesitating 
way. Opening it, he finds it to be ''After the Ball." 

Teacher, reproachfully — ''I said modern music, I think. Now, we 
will take notes." (Ten minute interval.) ''That will be all. I hope 
you are doing good work in the sub-classes. The sub-classes are very 

Suppressed excitement prevails in the class, but the star pupil explains 
that the sub-class is their only joy in life, and that they are commencing an 
analysis of the ''Melodia." The teacher explains that they are undertaking 
a stupendous task, but with hard work it can be mastered. After this, 
class is dismissed — something which should have happened a whole page 
before this. 

First Girl— ''Was that a concert deportment bow? How nervous 
she is ? " 

Second Girl — ''Doesn't she pound ? She plays that Berceuse like 
a Tarantelle." 

After the concert, both girls at once — ''Oh, Miss , how beau- 
tifully you played. We enjoyed it so much." 

THE \ E L M E 


^in fflrmnrmm 




New Books 

"A Treatise on Recognition; or, How to Make Friends and Keep 
Them," by Sheehy and Whitely, authors of much experience and wide 

"Temperament," a valuable addition to the librar\^ of a musician, by 
Hilda Swartz. 

"Delayed Suspensions," an exhaustive treatment on the subject, 
including Retardations, carefully discussed. Rights reserved by J. Albert J. 

"Tone Production and Attack," by Elisha Perry. An invaluable 
work on this subject from an entirely new point of view. 

Answers to Correspondents 

Inquiring Mind. — No, it is not polite to talk during musical numbers. 
Miss Blank. — Yes, the Class of 1905 possesses one voice of a pecul- 
iarly lyric quality. 


Worthy Object. — Two officers of Class of 1904, unable to meet 
expense of cuts for The Neume. Subscriptions hopefullv solicited by H. 
VVhitehouse and Payson Porter. 




Pertinent Questions 

What are vou going ro wear ' 

Where did Miss Johnston ge: rhose nuts ? 

What tailor eot the 575 for Mr. Srorer's coat ? 

Who was Mr. Steeves' B-:.iZ M.sre: ? 
Did Miss Morris ever cu: ? 
Pin or bust(?) 
Why is the Gym.? 

Have vou received a billet-doux from Mr. De.".n ? 
Who ever heard of "Music is Truth" ? 

How will Mr. Sieeves extricate himself from several breach of promise 
suits ? 

If a rehearsal of the Senior Class chorus, Ralph Lvford, director, is 
appointed to be^in at 6.45 P. M.. and rwentv members are present, at what 
time does the rehearsal begin ? 

What is an irregular resolution ? A harmonic surprise party. 

Every girl wants a "WTieeler and 
Wilson," but some prefer the "Singer." 

Now see here a minute ! 

Good gracious ! Wr trt ^ : D gan 
wounded that he should be admitted to 
the Soldiers' Home ? 



— That's all 


Special inducements to newly married 


Dress Law 
$75 to $600 


Found at his address 


Sure cure for Colds, Smallpox, Heart 
troubles, and all other con- 
tagious diseases 

For sale cheap at Room 48 

Jim Jeffrey is a mighty man, 
He aims and hits where'er he can, 
But you ought to see our Jeffery pose, 
He aims but lands upon his nose. 

Shure-on eye-glasses at all jewelers 


Mountain climbing and exploring with 
experienced guides 

For further information apply to 


Poetry at 12 /^c. per foot. Limericks 
and Love Lyrics a specialty 


Business Manager of The Neume 

Caps and Gowns 

Special Rates to Conservatory Students 


Tutoring in Counterpoint and 
Organ Tuning 

Abundant references from the Facultv^ 
given on application 


For the year 1905-6 

An able-bodied deaf person with a sym- 
pathetic nature to act as audience 
to ''Thully's" stump speeches 

Surroundings pleasant otherwise. For 
further particulars apply to 



A telephone especially adapted to social 
topics and the romance languages 

Apply to 


B. B. 2206 


No encyclopedia can compare with our 
firm for its general information 


Conservatory Art Lecture Course 

Second lecture of the course, May 27, 
1905. Subject : The Value of 
Tonsorial Art, by 

Patrons : Messrs. Lyford, Watson 
and F. Dean 

This space reserved for 

Employment Office 

An unlimited number of situations now 
awaitms! applicants 


A teacher of long experience and un- 
questioned ability 




Hutchin^s-Votey Or^an Co. 


Builders of the Great Or^an 
in Jordan Hall, New England 
Conservatory of Music 


Yale University, Woolsey Hall, New Haven, Conn. 
Vassar College (Chapel), Poughkeepsie, N. Y. 
Brown University, Sayles Hall, Providence, R. I. 
Mt. Holyoke College, Mary Lyon Chapel, Mt. Holy- 

Colorado College, Colorado Springs, Col. 

Harvard Divinity School, Chapel, Cambridge, Mass. 

Lafayette College, Easton, Pa. 

Groton School, Groton, Ma£s. 

St. Paul's School, Concord, N. H. 

Mt. Hermon School, Mt. Hermon, Mass. 

Wesleyan University, Middletown, Conn. 

Rockford College, Rockford, 111. 

Dana Hall School. Wellesley, Mass. 

Williams College, Thompson Memorial Chapel 

oke, Mass. 

Wellesley College, Houghton Memorial Chapel, Wei 

lesley, Mass. 
Chicago University, Mandel Hall, Chicago, 111. 
Lasell Seminary, Auburndale, Mass. 
Peabody Conservatory of Music, Baltimore, Md. 



Has your Piano Improved with A^e? 

PERFECTLY constructed piano, like a violin, will improve with age, 
provided the piano workmanship is equal to the violin workmanship. 
^ In such a piano the question of cost of manufacture dare not enter. 
^ The instrument is artistic, and is made for musical artists — those who know. 
^ The instant the question arises, " How much ? " the piano ceases to be" artistic " 
and becomes " commercial." ^ There is one piano factory in the United States 
(that of Mason and Hamlin Co., Cambridge, Mass.) in which nothing is passed 
over as " Good enough." ^ Perfection of every detail is demanded under the 
most exacting superintendence, until each individual piano is absolutely as good as 
artistic skill and infinite care can make it. 

Manufacturers of ARTISTIC PIANOS 


( Opposite Institute of Technology ) 

Stickney 6i Smith 

Allow ten per cent, discount to Teachers and Pupils 
of the New England Conservatory of Music on 

Ladies' Costumes, Street, Walking Suits 
Skirts and Garments of all kinds 
Waists and Furs 






tLJlXeyer Jonasson & Co. 

Tremont and ^^ylston Streets 

cM^anufadurers and 
T^etailers of 
Reliable Outer Garments for Women 



By SAMUEL W. COLE, in charge of the Sight-Singing Department at the Conservatory, and 
LEO R. LEWIS, Professor of The History and Theory of Music at Tufts College. 

This work is adapted for use by instructors of classes or of private pupils, as well as by those who, 
without instruction, desire to strengthen or develop ability to read at sight. There are eleven series of exer- 
cises, one-part and two-part, covering progressively every grade of difficulty, from the most elementary to the 
most advanced. 


The price is $1.50 net; at least fifty cents less than the ordinary cost of a 
worl^ of its size and style. It Will be mailed to any address postpaid on re- 
ceipt of $1 .68, or may be ordered through any dealer. 




The New England 
Conservatory of Music 

G. W. CHADWICK, Director 

The School Year 1903-6 
Begins September 14, 1903 

Year-book sent on application. Address, RALPH L. FLAN- 
DERS, Manager :: Huntington Avenue and Gainsboro Street 



202 TO 216 BOYLSTON ST. :: :: :: BOSTON, MASS. 

Owing to the extensive alterations throughout our entire establishment, which will, in 
time, temporarily close our second and third floors, we have decided to hold an 



Reductions of a most radical nature will be made in all departments, and especially in 
the Dress Malting, Suit, and Underwear Departments. Dress Goods and Silks, and 
Misses' and Boys' Clothing. 

5f<ittft (H)ool>t (pvinkv 

(TUafter of QBoofts, (ttiaqajintB, (Catalogues anb 
(|l5l?erti0ing ^itttatxixt of (^uer^ ^tscxi^tion 
mi^ fc>ffue an5 ^ovMo^ 352 ^aB^xn^ton gt, 
Q5o0ton, (yticiBsac^usctiB ^efe^^one 273 (tUain 


Mr. Charles M. Stieff, 

Boston, Mass. 

Dear Sir:- 

The Stieff upright piano, which you sent 
to the New England Conservatory of Music on trial 
last October, has proved entirely satisfactory, and 
on the strength of this trial, I have decided to 
place an order with you for Twenty-five (25) Stieff 
upright pianos, same style as sample submitted. 

These pianos must be delivered at the 
New England Conservatory of Music on or before 
September 1st, 1905. 

Yours very truly, 

Manager . 

Tone Quality and Durability are Absolutely Essential. 
That is Why Our instruments are Used Exclusively in 

Brenau College, Gainesville, Ga., 

Converse College, Spartanburg, S. C, 

Baptist Female Seminary, Raleigh, N. C, 

National Park Seminary, Forest Glenn, Md. 

St. Joseph's Academy, Emmitsburg, Md., 

Mt. Vernon Seminary, Washington, D. C, 

Kee Mar College, Hagerstown, Md., 

Elizabeth College, Charlotte, N. C, 

1 7 PIANOS. 

Mansfield Female College, Mansfield, La., 

Hannah More Academy, Reisterstown, Md., 

Lousiana Female College, Keatchie, La., 

Maryland Collegiate Inst. Union Bridge, Md. 
St. Mary's Star of the Sea School, Baltimore. 
St. Catherine's Normal School, Baltimore. 
St. Martin's School, Baltimore, Md. 
St. John's, Baltimore, Md. 
St. Joseph's, Baltimore, Md. 
Immaculate Conception, Baltimore, Md. 
St. Patrick's, Baltimore, Md. 

And Many Others. 


Write for Catalogue 

STIF'FF' ^ ^- l^iberty Street 
^ * M. 9 BALTIMORE, MD. 

College Department. 

A D \' E R T I S E M E N T J 

W. J. Sim kins 


: ■ _ r n 


282 Huntington Ave. 

Near NeN* England Conser>atory 
of ^lusic 

College Luncheon 


Home CcK)king a Specialty 
Your Patronage Kindly Solidted 


NiR5. Gale. • .• v-^s 


The Senior Class Photographer of the 
New England Conservatory of Music is 



Special prices oi\ en to all students of the ConserN ator> , who 
will please mention this advertisement 





Conservatory Music Store 

PKICE .... $1.25 

Ideal Silk Store 

No. 29 Temple Place, Boston, Mass. 

We make a specialty of Dress Silks and Lining 
Taffetas, and can save you from 10 to 25% on these 
goods. We invite you to call and inspect our values 
and prices. Please note the following, as these are a 
few of our leaders : 

27 in. White Wash Silk, 45 c. reg. value, $0.59 
27 " " " 59 c. " " 0.69 

27 " " " 69 c. " " 0.79 
23 " Colored Crepede Chine 75 c. " " 1.00 
21 " Black Taffeta, 65 c. " " 0.79 

26 " " " 79 c. " " 1.00 

35 " " " $1.00 " " 1.25 

Samples will be sent cheerfully upon request. 

H. E. Barton H. A. Eaton H. M. Nash 










The Business of the 

Boston Musical Bureau 


I. To supply 


II. To supply 


in. To supply 

CLUBS, etc., vcith soloists for ORATO- 

For full particulars, address 


2 1 8 Tremont Street :: :: Boston, iM ass. 

Phone. Oxford j.75-4 




Well dressed College Girls wear our exclusive styles 
in Artistic Shapes. Newport Ties in Tan, Patent, 
Dull Calf; Button Oxfords, in Patent Colt Flat Last; 
Blucher Oxfords in Cordovan, Patent, Tein ; Low 
Pumps in Tan, Patent, Canvas. Lace and Button 
Boots, every stj le possible. Pointed and Broad Toes, 
all weights soles. College girls used to pay $7.00 for 
their shoes; now they buy Knickerbockers, $3.50. 
Mail orders filled carefully. 40 page catalogue. 
Shoes delivered free in Boston. Call on us. 

E. W. Burt & Co. :: 40 West St., Boston